Matthew Shipp


The
Matthew Shipp
Discography



A work in progress
by Rick Lopez.

Born April 27, 1998

UPDATE March 11, 2004

If anyone would like to adopt this project, please contact me.


Photo of Mr. Shipp copyright © Susan O'Connor.
Reproduced with permission.



Selling My MUSIC COLLECTION!



Session-by-session listing:


87.11.19

Matthew Shipp & Rob Brown: Sonic Explorations

Cadence Jazz CJR 1037 (LP) 1988; CJR 1037 (CD) 2000

1st session
[See also: 88.02.14]

November 19, 1987
Evergreen Studio ("Possibly." --Rob Brown)
New York City
  1. Sonic Exploration Section 1 [8:04]
  2. Sonic Exploration Section 2 [4:08]
  3. Sonic Exploration Section 3 [6:25]
  4. Sonic Exploration Section 4 [2:57]
  5. Sonic Exploration Section 5 [5:13]
  6. Sonic Exploration Section 6 [9:30]
* The liners of CJR 1037 CD has track 5 as ..."Section 5 / 6" at [15:05]-- but I can't imagine why. The tracks actually appear separately (and naturally) as track 5 and 6, and the mistaken listing throws the remaining tracks from the 2nd session into complete disarray. --RL

[All compositions, collective]

Matthew Shipp (p-1,2,3,4,6)
Rob Brown (as-1,2,4,5,6)

{Primary Source: CJR 1037}


88.02.14

[Matthew Shipp & Rob Brown: Sonic Explorations]

Cadence Jazz CJR 1037 (LP) 1988; CJR 1037 (CD) 2000

2nd session
[See also: 87.11.19]

February 14, 1988
Sorcerer Sound
New York City
  1. Oleo (Sonny Rollins) [3:30]
  2. Blue In Green (Bill Evans) [6:07] *
  3. Oleo (Sonny Rollins) take 2 [3:34] *
  4. Blue In Green (Bill Evans) take 2 [4:10]
* CJR 1037 CD only.

* Because of the mistaken track listing in the liners noted in the 1st session, CJR 1037 CD has the actual track 7 as 6, 8 as 7, 9 as 8, and 10 as 9. And I thought all those doing the good work at CADENCE were infallible and god-like... --RL

Matthew Shipp (p)
Rob Brown (as)

{Primary Source: CJR 1037 LP & CD}


90.01.08
90.01.09
90.01.10

David S. Ware Quartet: Great Bliss Vol. 1

Silkheart Records SHCD-127 (CD) 1991 SWD

David S. Ware Quartet: Great Bliss Vol. 2

Silkheart Records SHCD-128 (CD) 1991 SWD

January 8 through 10, 1990
Sound on Sound Studio
New York City [All compositions, David S. Ware]

David S. Ware (ts-1/3,1/8,2/3,2/7; fl-1/1,1/6,2/2,2/5; saxello-1/2,1/5,1/7,2/4; stritch-1/4;2/1,2/6)
Matthew Shipp (p - all except 1/7 & 2/4)
William Parker (b - all except 1/7 & 2/4)
Marc Edwards (d; tymp; perc - all except 1/7 & 2/4)

[Note: The CD liner notes indicate "does not appear on album" for several of these tracks.
"...Silkheart LP manufacture stopped in a big hurry and those two [SHCD-127 & 128] certainly weren't manufactured. The remarks on the backliner text are there because it wasn't possible to make any changes to the offset films at that late date..."
--Keith Knox, Silkheart Records]

Go to the Silkheart webpage for these CDs.

{Primary Source: SHCD-128 & SHCD-127}


90.01.14

Matthew Shipp Quartet: Points

Silkheart Records SHCD-129 (CD) 1990 SWD

1st session
[See also: 90.03.18]

January 14, 1990
East Side Sound Studio
New York City
  1. Points Number Two [20:42]
  2. Afro Sonic [5:37]
  3. Piano Pyramid [10:05]
[All compositions, Matthew Shipp]

Matthew Shipp (p; perc-2; Cond)
Rob Brown (as-1,2)
William Parker (b; perc-2)
Whit Dickey (d; perc-2)

Go to the Silkheart webpage for this CD.

{Primary Source: SHCD-129}


90.03.18

[Matthew Shipp Quartet: Points]

Silkheart Records SHCD-129 (CD) 1990 SWD

2nd session
[See also: 90.01.14]

March 18, 1990
East Side Sound Studio
New York City
  1. Points Number One [34:24]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
Rob Brown (as)
William Parker (b)
Whit Dickey (d)

Go to the Silkheart webpage for this CD.

{Primary Source: SHCD-129}


90.10.16

Matthew Shipp Trio: Circular Temple {1}

Quinton Records QTN1 (CD) 1992; 2.13.61 Records / Infinite Zero Records Infinite Zero 9 14506-2 (CD) 1994

[Also:]
October 16, 1990
Seltzer Sound
New York City
  1. Circular Temple #1 [6:26] {1,2,4,5}
  2. Circular Temple #2 (Monk's Nightmare) [10:00] {1,3}
  3. Circular Temple #3 [3:47] {1}
  4. Circular Temple #4 [25:50] {1}
[All compositions, Matthew Shipp]

Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

{Primary Source: QTN1; Infinite Zero 9 14506-2; 9 00000-4; 9 00000-3; 9 000005; Sampler VI 1997}


90.11.12

Marc Edwards Quartet: Black Queen

Alphaphonics APCD1 (CD) 1991

November 12, 1990
East Side Sound Studio
New York City
  1. Creation [10:45]
  2. Bumblebees and Marigold Flowers [12:26]
  3. Lite Free [10:29]
  4. Black Queen [6:04]
  5. Quadratic Equation
    Part I: Fate vs. Destiny [3:24]
    Part II: X = Unknown Quantity [4:21]
    Part III: Analytical Factoring [4:41]
    Part IV: Discriminant Resolution [0:29]
  6. A New Day -- A New Age [9:22]
[All compositions, Marc Edwards]

Rob Brown (as)
Matthew Shipp (p)
Fred Hopkins (b)
Laverne Maxwell (spoken words)
Marc Edwards (d; perc)

{Primary Source: APCD1}


91.12.10
91.12.11

David S. Ware: Flight of I

DIW DIW-856 (CD) JPN; DIW/Columbia CK52956 (CD) 1992

December 10 & 11, 1991
The Power Station
New York City
  1. Aquarian Sound (Ware) [7:49]
  2. There Will Never Be Another You (H. Warren/M. Gordon) [9:29]
  3. Sad Eyes (A. Jones) [11:10]
  4. Flight of I (Ware) [8:11]
  5. Yesterdays (J. Kern/O. Harbach) [6:51]
  6. Infi-Rhythms # 1 (Ware) [17:43]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Marc Edwards (d)

{Primary Source: DIW-856}


92.05.18

Roscoe Mitchell & the Note Factory: This Dance is for Steve McCall

Black Saint BS120150-2 (CD) 1992 IT

Also: May 18, 1992
Sorcerer Sound
New York City
  1. Ericka (Joseph Jarman) [11:32]
  2. Uptown Strut (Mitchell) [2:19]
  3. The Rodney King Affair (Mitchell) [5:24]
  4. Ah (Mitchell) [3:21]
  5. Song For Gerald Oshita (Mitchell) [3:03]
  6. Paintings For Phillip Wilson (Mitchell) [2:58]
  7. The Far East Blues (Mitchell) [5:34]
  8. Variations For String Bass And Piano (Mitchell) [6:56]
  9. This Dance Is For Steve McCall (Mitchell) [9:56]

Roscoe Mitchell (ss; as; ts; bamboo fl; perc)
Matthew Shipp (p)
Jaribu Shahid (b)
William Parker (b; perc)
Tani Tabbal (d; hand drum)
Vincent Davis (d)

{Primary Source: BS120150-2; EF 20090}


92.06.01

Various Artists: Why We Came Together / A Yakuza Compilation

Yakuza #8 Magazine & CD 1996

June 1, 1992
Live at WKCR
New York City
  1. Sonic Host [4:55]
[Note: This is a fade-in/fade-out excerpt from a broadcast tape.]

[Composition, Matthew Shipp]

Matthew Shipp (piano)
Williamm Parker ? (bass)
Whit Dickey ? (drums)

{Primary Source: Yakuza #8}


92.10.14
92.10.15

David S. Ware: Third Ear Recitation

DIW DIW-870 (CD) 1993 JPN

October 14 & 15, 1992
Sound On Sound Studio
New York City
  1. Autumn Leaves (Joseph Kosma) [3:42]
  2. East Broadway Rundown (Sonny Rollins) [9:39]
  3. Mystic March (Ware) [5:38]
  4. Angel Eyes (Matt Dennis) [7:17]
  5. Third Ear Recitation (Ware) [4:41]
  6. Free Flow Dialogue (Ware) [3:16]
  7. Sentient Compassion (Ware) [6:45]
  8. The Chase (Ware) [9:11]
  9. Autumn Leaves (Joseph Kosma) [8:56]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

Third Ear Recitation liner notes by Ben Ratliff.

{Primary Source: DIW-870}


93.05.00

Matthew Shipp Duo with William Parker: ZO {1}

Rise Records RR-126 (CD) 1994; 2.13.61 Records thi21315.2 (CD) 1997

[Also:] May ?, 1993
Seltzer Sound
New York City
  1. ZO #1 (Shipp) [10:24] {1,3 - excerpt}
  2. Summertime (Gershwin) [12:01] {1,2}
  3. ZO #2 (Shipp) [13:28] {1}
  4. ZO #3 (Shipp) [14:02] {1}

Matthew Shipp (p)
William Parker (b)

{Primary Source: thi21315.2; Yakuza #6; RR-126; 213PRO2; info via Craig...}


93.03.26

Matthew Shipp Trio: Prism

Ectoplasm / Brinkman Records BRCD058/RÖV-009-2 (CD) 1995; hatOLOGY 549 (CD) 2000

March 26, 1993
Roulette
New York City
  1. Prism I [29:55]
  2. Prism II [25:40]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

{Primary Source: BRCD058/RÖV-009-2; hatOLOGY 549}


94.05.04
94.05.05

David S. Ware: Earthquation

DIW DIW-892 (CD) 1994 JPN

May 4 & 5, 1994
Power Station
New York City
  1. Canadian Sunset (Eddie Heywood/Norman Gimbel) [7:32]
  2. Inverse Alchemy (Ware) [8:55]
  3. Tenderly (Walter Gross/Jack Lawrence) [5:35]
  4. Ideational Blue (Ware) [8:26]
  5. Cococana (Ware) [11:32]
  6. Tenderly (Walter Gross/Jack Lawrence) [4:45]
  7. Earthquation (Ware) [9:20]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

{Primary Source: DIW-892}


94.05.19 : See 94.05.00


94.09.23

Matthew Shipp Quartet: Critical Mass

2.13.61 Records 213CD003 (CD) 1995; Thirsty Ear 3 (CD) 1996

[Also:] September 23, 1994
Sorcerer Sound
New York City
  1. Critical Mass [10:07] {1}
  2. Virgin Complex [9:10]
  3. Density and Eucharist [21:43]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
Mat Maneri (v)
William Parker (b)
Whit Dickey (d)

{Primary Source: 213CD003; 213CDPRO1}


94.12.02

David S. Ware Quartet: Cryptology

Homestead Records HMS220-2 (CD) 1995

December 2, 1994
Sound on Sound Studio
New York City
  1. Cryptology:
    a) Solar Passage [6:42]
    b) Direction: Pleiades [9:04]
    c) Dinosauria [10:03]
    d) Cryptology / Theme Stream [14:19]
    e) Panoramic [10:45]
    f) The Liberator [10:44]
[All compositions, David S. Ware]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

{Primary Source: HMS220-2}


95.05.14

Matthew Shipp: The Flow of X

2.13.61 Records thi21326.2 (CD) 1997

May 14, 1995
Seltzer Sound Studio
New York City
  1. flow of X [5:49]
  2. flow of silence [6:12]
  3. flow of Y [7:43]
  4. flow of M [6:52]
  5. flow of U [9:33]
  6. instinctive codes [12:40]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
Mat Maneri (v)
William Parker (b)
Whit Dickey (d)

2 by Shipp / Ltd. edition 45rpm vinyl from the Gold Sparkle Band, covering the Shipp compositions Flow of X and Flow of Y.

{Primary Source: thi21326.2; date from master tapes via Henry Rollins}


95.06.14
95.06.15

Matthew Shipp: Before the World

FMP CD 81 (CD) 1997 GER

June 14 & 15, 1995
Live at The Workshop Freie Musik '95
Akademie der Künste
Berlin, Germany
  1. Before # 1 [32:44]
  2. Before # 2 [5:42]
  3. Before # 3 [3:42]
  4. Before # 4 [4:09]
  5. Before # 5 [22:07]
[All compositions, Matthew Shipp]

Matthew Shipp (p)

{Primary Source: FMP CD 81}


95.08.15

Matthew Shipp Duo with Roscoe Mitchell: 2-Z {1}

2.13.61 Records thi21312.2 (CD) 1996

[Also:] August 15, 1995
Seltzer Sound
New York City
  1. 2-Z [3:10] {1}
  2. 2-Z-2 [4:03] {1}
  3. 2-Z-3 [4:46] {1}
  4. 2-Z-4 [3:47] {1}
  5. 2-Z-5 [2:53] {1}
  6. 2-Z-6 [2:46] {1}
  7. 2-Z-7 [2:40] {1}
  8. 2-Z-8 [4:13] {1,2}
  9. 2-Z-9 [2:54] {1}
  10. 2-Z-10 [6:02] {1}
  11. 2-Z-11 [6:46] {1}
    (The Physics of Angels)
[All compositions collective]

Matthew Shipp (p)
Roscoe Mitchell (as-1,2,3,5,7,11; ss-4,6,9,10)

2-Z liner notes by Robert Hicks.

{Primary Source: thi21312.2; 213PRO2; date from master tapes via Henry Rollins}


95.09.01

Various Artists: Halana #1

Halana #1 Magazine & 7" EP 1995

September 1, 1995
Ardmore, PA
  1. Spinal Syntax 1 and 2 [3:33]
[Note: This is Side A of this disc; Side B is a track by Loren MazzaCane Conners.
In addition, both sides contain "Sculptures of Sonambient, Lock Grooves," performed by Val Bertoia]

[Composition, Matthew Shipp]

Matthew Shipp (p)

{Primary Source: Halana #1}


95.09.27
95.09.28

David S. Ware Quartet: Oblations and Blessings

Silkheart Records SHCD-145 (CD) 1996 SWD

September 27 & 28, 1995
Sound on Sound Studio
New York City
  1. Oblations and Blessings [17:05]
  2. Riff Unknown [10:53]
  3. Of Shambala [11:05]
  4. Fire Within [11:07]
  5. Manu's Ideal [10:13]
  6. Serpents and Visions [8:37]
[All compositions, David S. Ware]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

Go to the Silkheart webpage for this CD.

{Primary Source: SHCD-145}


95.09.29

David S. Ware: DAO

Homestead Records HMS230-2 (CD) 1996

September 29, 1995
Sound on Sound Studio
New York City
  1. Interdao [6:22]
  2. Motif Dao [9:38]
  3. Rhythm Dao [7:00]
  4. Tao Above Sky [7:36]
  5. Dao Forms [18:16]
  6. Dao Feel [8:28]
  7. Dao [15:20]
[All compositions, David S. Ware]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

{Primary Source: HMS230-2}


95.11.22

Matthew Shipp: Symbol Systems

No More Records No. 1 (CD) 1995

November 22, 1995
Baby Monster Studios
New York City
  1. Clocks [7:00]
  2. Harmonic Oscillator [3:47]
  3. Temperature Zone [1:52]
  4. Symbol Systems [4:46]
  5. The Highway [6:06]
  6. Self-Regulated Motion [3:15]
  7. Frame [5:11]
  8. Flow of Meaning [7:11]
  9. Dance of the Blue Atoms [3:23]
  10. Bop Abyss [4:33]
  11. Nerve Signals [3:29]
  12. Algebraic Boogie [2:13]
  13. The Inventor pt. 1 [4:13]
  14. The Inventor pt. 2 [3:05]
[All compositions, Matthew Shipp]

Matthew Shipp (p)

{Primary Source: No More Records No. 1}


96.01.00-1

Ivo Perelman & Matthew Shipp: Bendíto of Santa Cruz

Cadence Jazz CJR 1076 (CD) 1997

January, 1996
Systems Two Studio
Brooklyn, NY
  1. Bendíto of Santa Cruz - take 1 (traditional) [1:42]
  2. Macumba (traditional) [9:27]
  3. Anglo (Perelman) [7:22]
  4. Roses (traditional) [6:41]
  5. Ze Do Vale (traditional) [5:39]
  6. Cego (traditional) [4:43]
  7. Cana Fita (traditional) [4:17]
  8. Bandeirantes (Perelman) [6:02]
  9. The Lion (Perelman) [3:08]
  10. Bendíto of Santa Cruz - take 2 (traditional) [1:38]

Ivo Perelman (ts)
Matthew Shipp (p)

{Primary Source: CJR 1076}


96.01.00-2

Ivo Perelman: Brazilian Watercolour

Leo Records CD LR 266 (CD) 1999 England

[This disc also contains 7 tracks of Perelman w/ Rashied Ali, Guilherme Franco, and Cyro Baptista]

January, 1996
Systems Two Studio
Brooklyn, NY
  1. Ascendent [5:27]
  2. Traces [2:52]
  3. Recitativo [2:20]
  4. Explicativo [5:55]
  5. Pal Piteira [6:36]
[All compositions, Ivo Perelman]

Ivo Perelman (ts)
Matthew Shipp (p)

{Primary Source: CD LR 266}


96.02.26

Joe Morris Ensemble: Elsewhere

Homestead HMS233-2 (CD) 1996

February 26, 1996
Sorcerer Sound Studio
New York City
  1. Plexus [8:03]
  2. Elsewhere [13:58]
  3. Cirrus [5:13]
  4. Violet [11:37]
  5. Mind's Eye [6:16]
  6. Rotunda [15:02]
[All compositions, Joe Morris]

Joe Morris (g)
Matthew Shipp (p)
William Parker (b)
Whit Dickey (d)

{Primary Source: HMS233-2}


96.05.02
96.05.03

David S. Ware Quartet: Godspelized

DIW DIW-916 (CD) 1997 JPN

May 2 & 3, 1996
Sound on Sound
New York City
  1. Godspelized (Ware) [15:44]
  2. Wisdomsphere (Ware) [7:55]
  3. Inner Temple (Ware) [6:40]
  4. Wisdom Through Time (Ware) [7:54]
  5. The Stargazers (Sun Ra) [12:26]
  6. Eternal Forces of Brahm (Ware) [11:44]
  7. Godspelized (Ware) [4:20]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Susie Ibarra (d)

{Primary Source: DIW-916}


96.06.06

Ivo Perelman: Cama de Terra

Homestead HMS237-2 (CD) 1996

June 6, 1996
Systems Two Studio
Brooklyn, NY
  1. Soundcheck [0:48]
  2. One Converse [2:58]
  3. To Another [4:38]
  4. Nho Quim [8:51]
  5. Spiral [5:38]
  6. Adriana [3:54]
  7. Groundswell Descent [4:55]
  8. Dedos [3:51]
  9. Elephants Have Brains [2:40]
  10. Cama de Terra [9:24]
  11. The Dark of the Day [6:20]
[All compositions, Ivo Perelman]

Ivo Perelman (ts)
Matthew Shipp (p)
William Parker (b)

{Primary Source: HMS237-2}


96.06.19

Various Artists: Knitting Factory What Is Jazz? Festival 1996
David S. Ware Quartet

Knitting Factory Works KFW 195 (CD) 1996

[Also:] 1st session
[See also: 96.06.26]

June 19, 1996
Knitting Factory
New York City
  1. In This Love [8:14]
[Composition, David S. Ware]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Susie Ibarra (d)

{Primary Source: KFW 195}


96.06.26

[Various Artists: Knitting Factory What Is Jazz? Festival 1996]
Matthew Shipp Solo

Knitting Factory Works KFW 195 (CD) 1996

[Also:] 2nd session
[See also: 96.06.19]

June 26, 1996
Knitting Factory
New York City
  1. Instinct [5:54] {1,2}
  2. Instinct II [5:59] {3 ** }

    ** The Texaco disc also includes a monologue by Shipp [1:30] on improvisation.
[Compositions, Matthew Shipp]

Matthew Shipp (p)

{Primary Source: KFW 195; KFW 198-P; Texaco CD #3}


96.08.05

Matthew Shipp String Trio: By the Law of Music

hat HUT Records hat ART CD 6200 (CD) 1997 SWZ; hatOLOGY 574 (CD) 2002, SWZ

August 5, 1996
Seltzer Sound
New York City
  1. Signal (Shipp) [0:17]
  2. By the Law of Music (Shipp) [2:51]
  3. Implicit (Shipp) [6:58]
  4. Fair Play (Shipp) [5:00]
  5. Grid (Shipp) [6:45]
  6. Whole Movement (Shipp) [3:05]
  7. Game of Control (Shipp) [7:56]
  8. Point to Point (Shipp) [4:21]
  9. P X (Shipp) [3:28]
  10. Grid (Shipp) [5:36]
  11. Coo (Shipp) [5:05]
  12. X Z U (Shipp) [4:81]
  13. Solitude (Ellington) [4:53]

Matthew Shipp (p)
Mat Maneri (v)
William Parker (b)

{Primary Source: hat ART CD 6200}


96.10.12

Rob Brown Duo with Matthew Shipp: Blink of an Eye

No More Records No. 3 (CD) 1997

October 12, 1996
Live at Roulette
New York City
  1. Blink of an Eye Part 1 [28:44]
  2. Blink of an Eye Part 2 [32:27]
  3. Blink of an Eye Part 3 [8:44]
[Compositions, collective]

Rob Brown (as; fl)
Matthew Shipp (p)

{Primary Source: No More Records No. 3}


96.12.02
96.12.03

David S. Ware: Wisdom of Uncertainty

AUM Fidelity AUM001 (CD) 1997

December 2 & 3, 1996
Sound on Sound
New York City
  1. Acclimation [12:45]
  2. Antidromic [7:47]
  3. Utopic [15:34]
  4. Alignment [7:16]
  5. Sunbows Rainsets Blue [7:41]
  6. Continuum [11:34]
[All compositions, David S. Ware]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Susie Ibarra (d)

{Primary Source: AUM001}

Wisdom of Uncertainty at the AUMFidelity website.


97.01.23

Matthew Shipp / Joe Morris: Thesis

hat HUT Records hatOLOGY 506 (CD) 1997 SWZ

January 23, 1997
Seltzer Sound
New York City
  1. Thesis [4:08]
  2. Fable [5:39]
  3. Simple Relations [3:41]
  4. Particle I [3:43]
  5. The Wand [3:49]
  6. Action and Reaction [5:22]
  7. Center Of [5:33]
  8. The Turnpike [5:35]
  9. For Of "Y" [4:22]
  10. Broader Orders [8:01]
  11. Particle 2 [4:41]
  12. The Middle Region [4:18]
  13. Our Journey [4:35]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
Joe Morris (g)

{Primary Source: hatOLOGY 506}


97.05.00

Roscoe Mitchell and the Note Factory: Nine To Get Ready

ECM 1651 539 725-2 (CD) 1999 SWZ; 1651 78118-21651-2 (CD) 1999 US; Polydor K.K. ECM POCJ-1445 (CD) JAP

Also: May, 1997
Avatar Studio
New York City
  1. Leola [9:35]
  2. Dream And Response [5:35]
  3. For Lester B [6:07]
  4. Jamaican Farewell [5:45]
  5. Hop Hip Bip Bir Rip [5:59]
  6. Nine To Get Ready [3:52] {2,3}
  7. Bessie Harris [6:47]
  8. Fallen Heroes [6:33]
  9. Move Toward The Light [3:24]
  10. Big Red Peaches [2:03]
[All compositions, Roscoe Mitchell]

Roscoe Mitchell (ss; as; ts; fl; voc)
Hugh Ragin (tp)
George Lewis (tb)
Matthew Shipp (p)
Craig Taborn (p)
Jaribu Shahid (b; voc)
William Parker (b)
Tanni Tabbal (d; perc; voc)
Gerald Cleaver (d)

More info on this release at ECM.

MOTION review of this disc.

{Primary Source: ECM 1651 539 725-2}


97.05.29

Various Artists: Vision One - Vision Festival 1997 Compiled
Matthew Shipp / Rob Brown Duo

AUM Fidelity AUM007/8 (2CD) 1998
Ltd. Edition 1,000 copies

1st session
[See also: 97.05.30]

May 29, 1997 *
Angel Orensanz Center
New York City
  1. Vision Statement 2 [9:25]
[Composition, collective]

Rob Brown (fl)
Matthew Shipp (p)

{Primary Source: AUM007/8}

* For exactitude's sake, this session, scheduled for late evening of May 29th, actually began at 12:30 a.m. of the 30th. --RL

Vision Festival 1997 Compiled at the AUMFidelity website.


97.05.30

[Various Artists: Vision One - Vision Festival 1997 Compiled]
David S. Ware Quartet

AUM Fidelity AUM007/8 (2CD) 1998
Ltd. Edition 1,000 copies

1st session
[See also: 97.05.29]

May 30, 1997
Angel Orensanz Center
New York City
  1. Lockup '97 [8:20]
[Composition, David S. Ware]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Susie Ibarra (d)

{Primary Source: AUM007/8}

Vision Festival 1997 Compiled at the AUMFidelity website.


97.07.17

Matthew Shipp: The Multiplication Table

hat HUT Records hatOLOGY 516 (CD) 1998 SWZ

July 17, 1997
Seltzer Sound
New York City
  1. Autumn Leaves (Joseph Kosma) [8:10]
  2. The New Fact (Shipp) [4:43]
  3. The "C" Jam Blues (Duke Ellington) [13:09]
  4. ZT 1 (Shipp) [5:25]
  5. Take the "A" Train (Billy Strayhorn) [6:56]
  6. ZT 2 (Shipp) [4:26]
  7. The Multiplication Table (Shipp) [13:07]
  8. ZT 3 (Shipp) [4:51]

Matthew Shipp (p)
William Parker (b)
Susie Ibarra (d)

{Primary Source: hatOLOGY 516}


97.12.02

Other Dimensions in Music Special Quintet w/ Matthew Shipp:
Time Is Of The Essence; The Essence Is Beyond Time

AUM Fidelity AUM013 (CD) 2000

December 2, 1997
Knitting Factory
New York City
  1. > [9:27]
  2. > [4:25]
  3. > [7:29]
  4. > [3:44]
  5. > [5:17]
  6. > [23:32]
  7. > [13:33]

    Continuous performance: "The IDs included here are flags, reel changes if you will... There was one natural break in the concert, very brief and midway through, located here between IDs 5 and 6." -- Steven Joerg, from the liners.

Daniel Carter (as; ts; fl; tp)
Roy Campbell Jr. (tp; flg; pocket tp)
Matthew Shipp (p)
William Parker (b)
Rashid Bakr (d)

{Primary Source: AUM 013}

Time Is Of The Essence; The Essence Is Beyond Time at the AUMFidelity website.


97.12.11
97.12.12

David S. Ware: Go See the World

Sony / Columbia Records CK 69138 (CD) 1998

[Also:] December 11 &Amp; 12, 1997
Sound on Sound Studio
New York City
  1. Mikuro's Blues (Ware) [6:04] *
  2. Lexicon (Ware) [10:22]
  3. Logistic (Ware) [9:51]
  4. The Way We Were (Marvin Hamlisch / Alan & Marilyn Bergman) [14:34]
  5. Quadrahex (Ware) [4:42]
  6. Estheticmetric (Ware) [11:30]
  7. Rapturelodic (Ware) [10:38]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Susie Ibarra (d)

Liner notes for this disc at the Sony/Columbia website.

{Primary Source: CK 69138; JZD1098}


97.12.14

Matthew Shipp Horn Quartet: Strata

hat HUT Records hatOLOGY 522 (CD) 1998

December 14, 1997
Sorcerer Sound
New York City
  1. Strata 1 [0:47]
  2. Strata 2 [1:23]
  3. Strata 3 [7:45]
  4. Strata 4 [3:18]
  5. Strata 5 [7:05]
  6. Strata 6 [3:33]
  7. Strata 7 [5:36]
  8. Strata 8 [5:30]
  9. Strata 9 [5:43]
  10. Strata 10 [5:20]
  11. Strata 11 [4:18]
  12. Strata 12 [6:41]
  13. Strata 13 [0:59]
  14. Strata 14 [0:50]
[Composition, Matthew Shipp]

Matthew Shipp (p-3,4,5,6,8,10,11,12)
Roy Campbell (tp-3,5,7,9,10,12; pocket trumpet-1,14)
Daniel Carter (as-3,6,12; ts-5,6,7; fl-8; tp-1,3,10,14)
William Parker (b-2,3,5,7,8,10,12,13)

The Strata Visualized:

track 1234567891011121314
Campbell X X X X XX X X
Carter X X XXXX X X X
Parker XX X XX X XX
Shipp XXXX X XXX

{Primary Source: hatOLOGY 522}


98.05.10

Matthew Shipp Duo with Mat Maneri: Gravitational Systems

hat HUT Records hatOLOGY 530 (CD) 1999

May 10, 1998
Sorcerer Sound
New York City
  1. Elasticity (Shipp) [4:48]
  2. Greensleeves (trad., arrangement Shipp) [4:43]
  3. Series of Planes (Shipp) [5:31]
  4. Knots (Shipp) [4:41]
  5. Notes (Shipp) [5:11]
  6. Two Elements (Shipp) [5:33]
  7. Landscape Harmony (Shipp) [8:33]
  8. Forcefield (Shipp) [8:19]
  9. Gravitational Systems (Shipp) [8:15]
  10. Naima (John Coltrane) [3:16]

Mat Manerri (v)
Matthew Shipp (p)

{Primary Source: hatOLOGY 530}


98.08.14

Mat Maneri Trio: So What?

hat HUT Records hatOLOGY 529 (CD) 1999

August 14, 1998
Sorcerer Sound
New York City
  1. Asunta (Maneri) [8:02]
  2. So What? (Miles Davis) [3:36]
  3. Sunned (Maneri) [6:34]
  4. Circle (Miles Davis) [7:56]
  5. Three Smiles (Maneri) [7:18]
  6. Cathedral (Maneri) [7:29]
  7. Solar (Miles Davis) [3:35]
  8. Solaris (Maneri) [10:27]
  9. No Blues (Miles Davis) [8:47]

Mat Manerri (el-v)
Matthew Shipp (p)
Randy Peterson (d)

{Primary Source: hatOLOGY 529}


98.11.13

Steve Dalachinsky: Incomplete Directions

Knitting Factory Records KFR-235 (CD) 1999
[This disc also includes pieces w/ accompaniment by: Daniel Carter & Sabir Mateen; Vernon Reid; William Parker; Stephanie Stone; Thurston Moore & Tom Surgal; Mat Maneri; Susie Ibarra & Assif Tsahar; Vito Ricci; and Roy Campbell.]

November 13, 1998
Knitting Factory
New York City
  1. 3 card monty (or eating the red) [1:11]
  2. one thin line [1:53]
  3. the conquest [3:05]
  4. slim slow swimmer [2:34]
[All compositions, collective]

Steve Dalachinsky (poetry)
Matthew Shipp (p)
Rob Brown (fl-3)

{Primary Source: KFR-235; session date via Steve Dalachinsky}


99.01.06

Matthew Shipp Duo with William Parker: DNA

Thirsty Ear Recordings thi 57067.2 (CD) 1999

[Also:] January 6, 1999
Seltzer Sound
New York City
  1. When Johnny Comes Marching Home (traditional) [4:04]
  2. Cell Sequence (Shipp) [7:03]
  3. Genetic Alphabet (Shipp) [12:45]
  4. DNA (Shipp) [5:26]
  5. Orbit (Shipp) [4:31]
  6. Mr. Chromosome (Shipp) [11:42]
  7. Amazing Grace (traditional) [2:02] {2}

Matthew Shipp (p)
William Parker (b)

{Primary Source: thi 57067.2; VVR 001}


99.01.26

Matthew Shipp, Rob Brown, William Parker : Magnetism

Bleu Regard CT 1957 (CD) 1999 FR

January 26, 1999
Seltzer Sound
New York City
  1. Magnetism I [0:55]
  2. Magnetism II [3:19]
  3. Magnetism III [3:48]
  4. Magnetism IV [2:28]
  5. Magnetism V [3:29]
  6. Magnetism VI [1:10]
  7. Magnetism VII [3:07]
  8. Magnetism VIII [4:11]
  9. Magnetism IX [0:28]
  10. Magnetism X [3:24]
  11. Magnetism XI [3:38]
  12. Magnetism XII [0:43]
  13. Magnetism XIII [4:08]
  14. Magnetism XIV [2:18]
  15. Magnetism XV [4:54]
  16. Magnetism XVI [0:53]
  17. Magnetism XVII [3:05]
  18. Magnetism XVIII [3:42]
  19. Magnetism XIX [1:41]
  20. Magnetism XX [5:32]
[All compositions, Matthew Shipp]

Player 12345678910 11121314151617181920
Matthew Shipp (p) pp--pp--pp--p ppppp--pp--p
Rob Brown (as; fl) asasfl--asflflas--as as--asasasflasflflas
William Parker bbb--b--bbbb b--bbb--bb--b

{Primary Source: CT 1957}


99.10.00
99.10.20
99.10.21
99.11.05
99.11.06
99.11.09

Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo [Broadcast Videotape]

Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK / Broadcast ? 2000

Early October, 1999 (Rehearsals, New York City)
October 20 & 21, 1999 (Avatar Studios, New York City / see session 99.10.20 & 99.10.21.)
November 5, 1999 Jazz d'Or Festival at Centre Culturel Strasbourg, France
November 6, 1999 Societe Philharmonique de Bruxelles, Belgium
November 9, 1999 Le Théatre, Poitiers, Paris, France
    This documentary contains interviews w/ David S. Ware, Matthew Shipp, William Parker, Guillermo E. Brown; Cooper-Moore, Thurston Moore, Joseph de Paul, Jim Anderson, Michael Brecker and appearances by Anne Dumas and Branford Marsalis.
    Rehearsals, interviews, and footage of New York City take up the first 24:00; The remainder is studio recording time from the Surrendered sessions, and tour and concert footage from London, Strasbourg, Bruxelles, and Poitiers.

    [Total time: 53:00]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Guillermo E. Brown (d)

{Primary Source: Videotape; Circeto website}


99.10.20
99.10.21

David S. Ware: Surrendered

Sony / Columbia Records CK 63816 (CD) 2000

October 20 &Amp; 21, 1999
Avatar Studios
New York City
  1. Peace Celestial (Ware) [8:28]
  2. Sweet Georgia Bright (Charles Lloyd) [5:15]
  3. Theme of Ages (Ware) [7:44]
  4. Surrendered (Ware) [7:58]
  5. Glorified Calypso (Ware) [6:02]
  6. African Drums (Beaver Harris) [16:53]

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Guillermo E. Brown (d)

{Primary Source: CK 63816}


99.11.09

Muzzik Presents Jazz: David S. Ware Quartet In Concert [Broadcast Videotape]

Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK / Broadcast ? 2000

November 9, 1999
Théatre de la Ville
Scène Nationale Poitiers
Paris, France
  1. Aquarian Sound (Ware) [26:06]
  2. Angel Eyes (Matt Dennis) [16:33]
  3. announcement, DS Ware [0:35]
  4. Mikuro's Blues (Ware) [8:24]
  5. encore: Manu's Ideal (Ware) [7:12]

    [Total time: 1:03:40]

    NOTE: According to the CIRCETO website, there is an extended 90 minute version of this concert broadcast which adds LOGISTICS preceding Angel Eyes, and LEXICON preceding Mikuro's Blues. --RL

David S. Ware (ts)
Matthew Shipp (p)
William Parker (b)
Guillermo E. Brown (d)

{Primary Source: Videotape; Circeto website}


99.11.18

Matthew Shipp String Trio: Expansion, Power, Release

hat HUT Records hatOLOGY 558 (CD) 2001 SWZ

November 18, 1999
Seltzer Sound
New York City
  1. Organs [2:22]
  2. Expansion [2:57]
  3. Waltz [3:58]
  4. Combinational Entity [2:31]
  5. Speech of Form [5:01]
  6. Environment [3:00]
  7. Weave Now a Web Rooted [5:38]
  8. Connection [2:27]
  9. Pulse Form [3:10]
  10. Power [8:23]
  11. Functional Form [2:58]
  12. Reflex [2:21]
  13. Release [8:07]
  14. One More [3:11]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
Mat Maneri (v)
William Parker (b)

{Primary Source: hatOLOGY 558}


00.01.06

Matthew Shipp Quartet: Pastoral Composure

Thirsty Ear Recordings (The Blue Series) THI 57084-2 (CD) 2000

January 6, 2000
Seltzer Sound
New York City

  1. Gesture (Shipp) [6:49]
  2. Visions (Shipp) [7:56]
  3. Prelude to a Kiss (Duke Ellington) [4:38]
  4. Pastoral Composure (Shipp) [4:39]
  5. Progression (Shipp) [5:33]
  6. Frère Jacques (traditional) [5:36]
  7. Merge (Shipp) [5:46]
  8. Inner Order (Shipp) [3:44]
  9. XTU (Shipp) [3:34]

Matthew Shipp (p)
Roy Campbell (tp; pocket tp; flg)
William Parker (b)
Gerald Cleaver (d)

{Primary Source: THI 57084-2}


00.09.14

Matthew Shipp: Matthew Shipp's New Orbit

Thirsty Ear Recordings (The Blue Series) THI 57095-2 (CD) 2001

[Also:]
September 14, 2000
Seltzer Sound
New York City
  1. New Orbit [2:59] [*]
  2. Paradox X [4:31]
  3. Orbit 2 [3:39]
  4. Chi [7:50]
  5. Orbit 3 [2:23]
  6. U Feature [3:56]
  7. Syntax [7:16]
  8. Maze Hint [1:09]
  9. Paradox Y [3:54]
  10. Orbit 4 [1:31]
[All compositions, Matthew Shipp]

Matthew Shipp (p)
Wadada Leo Smith (tp)
William Parker (b)
Gerald Cleaver (d)

{Primary Source: THI 57095-2}


00.09.15

The Nommonsemble: Life Cycle

AUM Fidelity AUM020 (CD) 2001

September 15, 2000
Hillside Sound
Englewood, NJ
  1. Wonder [5:32]
  2. War [7:03]
  3. Games [4:49]
  4. Love [7:02]
  5. Acceptance [7:55]
  6. Transformation [9:20]
[All compositions, Whit Dickey]

Matthew Shipp (p)
Rob Brown (as; fl)
Mat Maneri (va)
Whit Dickey (d)

{Primary Source: AUM020}


01.00.00 (1)

Various Artists: State of the Union

Electronic Music Foundation EMF CD 028 (3CD) 2001

Date ?
ZOAR studio
New York City
  1. Notes Cry Out [1:01]
[Composition, Matthew Shipp]

Matthew Shipp (processed piano)

"[Shipp] said that the whole thing was done at Elliot's ZOAR studio... he had no idea what it sounded like or what was used. He showed up, played, and was out the door in under 5 minutes."
--correspondence from Alan Schneider

{Primary Source: EMF CD 028; session venue from Mr. Shipp via Alan Schneider}


01.00.00 (2)

QPSM Unit: The Seriousness of the Matter

Quadrophonic Sound Module QPS 1101 (LP) 2001

Date ?, 2001
Planet to Planet, and Sorcerer Sound
New York City
  1. Brooklyn Inferno (Masey / Ben Judah) []
  2. Ode to the Supa Dupa Moms (Henry) []
  3. Long Arithmatic (sic) (Shipp) []
  4. Alayaza (Ben Judah) []
  5. R.A.S. The Hustler of the Movement (N'Diaye / Ben Judah) []

Matthew Shipp (piano) [credited in a "paste-over"]
Sabir Mateen (tenor sax-3)
Zane Massey (tenor sax-1,4)
Frank "Ku-Umba" Lacy (trombone and fluegelhorn-1,4)
Masuja (guitar)
Tulivu Cumberbatch (vocals-2,5)
RaDu Olahu Ben Judah (acoustic and electric bass)
Ras Tschaka Tonge (congas; chekere)
Amos Oscar Debe (percussion-5)
Sawadogo Levi (percussion-5)
Rachid Rivers (percussion-1,4)
Joy Chatel (percussion-1,4)
Lee "Beaver" Pearson (d-5) [listed as "Lee 'Beaver' Harris" with a paste-over above. One of many typos in the liners.]

{Primary Source: QPS 1101}


01.01.14

Spring Heel Jack: The Blue Series Continuum ° Masses

Thirsty Ear Recordings (The Blue Series) THI 570103.2 (CD) 2001

January 14, 2001
Sorcerer Sound
NYC
  1. Chorale [9:13]
  2. Masses [5:33]
  3. Salt [4:45]
  4. Interlude 2 [3:05]
[All compositions, Spring Heel Jack]

Spring Heel Jack:
John Coxon ("all other Instruments")
Ashley Wales ("all other Instruments")
w/
Evan Parker (soprano sax-1,2,3)
Tim Berne (alto sax and baritone sax-2)
Daniel Carter (flute, alto sax, and tenor sax-2,4)
Roy Campbell (trumpet-2)
Matthew Shipp (piano-1,2,3)
Mat Maneri (viola-2)
William Parker (bass)
Guillermo E. Brown (drums-2,3,4)

"Engineered by FLAM - recorded at Sorcerer Sound, Jan 14th, 2001
mixed at Strongroom, London by Oliver Meacock"

{Primary Source: THI 570103.2; session date via FLAM correspondence 03.11.06}


01.02.26
01.02.27

David S. Ware Quartet: Corridors & Parallels

AUM Fidelity AUM019 (CD) 2001

February 26 & 27, 2001
Sorcerer Sound
New York City
  1. untitled (Ware) [1:20]
  2. Straight Track (Ware) [10:02]
  3. Jazz Fi-Sci (Ware) [4:22]
  4. Superimposed (Ware) [5:58]
  5. Sound-a-Bye (Ware) [3:08]
  6. untitled (Ware) [0:37]
  7. Corridors & Parallels (Ware / Shipp) [8:59]
  8. Somewhere (Ware) [3:11]
  9. Spaces Embraces (Ware) [3:17]
  10. Mother May You Rest in Bliss (Ware) [6:07]
  11. untitled (Ware) [1:48]

David S. Ware (ts)
Matthew Shipp (synth)
William Parker (b)
Guillermo E. Brown (d)

{Primary Source: AUM019}

Corridors & Parallels at the AUMFidelity website.


01.04.05

Andrew Barker, Matthew Shipp, Charles Waters: Apostolic Polyphony

Drimala Records DR 03-347-01 (CD) 2003

April 5, 2001
Sparkle Projects Series
TONIC
New York City

  1. part-one invention (11:34]
  2. two-part invention (3:56]
  3. three-one invention (4:56]
  4. part-two invention (3:50]
  5. three-part invention (7:40]
  6. three-two invention (9:05]
  7. one-three invention (9:22]
  8. part-four invention (10:32] * Shannon Fields - remix
[All compositions collective]

Matthew Shipp (piano)
Charles Waters (B-flat clarinet, alto saxophone)
Andrew Barker (drums)

{Primary Source: info via Tom Hull correspondence 03.09.30}
Not in my collection


01.08.09

Matthew Shipp: nu bop

Thirsty Ear Recordings (The Blue Series) THI 57114-2 (CD) 2002

[Also:]
August 9, 2001
Sorcerer Sound
New York City

  1. Space Shipp [3:21] {*}
  2. Nu-Bop [6:07]
  3. ZX-1 [4:16]
  4. D's Choice [4:50]
  5. X-Ray [3:27]
  6. Rocket Shipp [7:35]
  7. Select Mode 1 [1:23]
  8. Nu Abstract [3:47]
  9. Select Mode 2 [5:09]
[All compositions, Shipp]

Matthew Shipp (piano)
Daniel Carter (saxophone and flute)
William Parker (bass)
FLAM (synths and programming)
Guillermo E. Brown (drums)

"Engineered by FLAM, recorded at Sorcerer Sound, August 9th 2001
mixed at Mindswerve Studios, NYC late August 2001

{Primary Source: THI 57114-2; THI 57124.2; THI 57140.2; session date and DJ Wally info via FLAM correspondence 03.11.06}


01.11.18

Matthew Shipp: SONGS

Splasc(H) Records (World Series) CDH 840.2 (CD) 2002 IT

November 18, 2001
The Studio
New York City

  1. We Free Kings (John Henry Hopkins, Jr.) [4:16]
  2. There Will Never Be Another You (Warren and Gordon) [5:42]
  3. Almighty Fortress is Our God (Martin Luther) [5:01]
  4. Con Alma (Gillespie) [8:16]
  5. Angel Eyes (Brent and Dennis) [5:35]
  6. On Green Dolphin Street (Kaper and Washington) [3:53]
  7. Bags' Groove (Jackson) [3:25]
  8. Yesterdays (Kern and Harbach) [5:32]
  9. East Broadway Rundown (Rollins) [5:17]

Matthew Shipp (piano)

{Primary Source: THI 57084-2}


02.00.00 (1)

Spring Heel Jack: The Blue Series Continuum • AMaSSED

Thirsty Ear Recordings (The Blue Series) THI 57123.2 (CD) 2002

[Also:]
Date ?, 2002
Strongroom, London -and- Gateway Studio, Kingston, England
  1. Amassed [9:13]
  2. Obscured [4:45] [*]
[All compositions, Spring Heel Jack]

Spring Heel Jack:
John Coxon ("all other Instruments")
Ashley Wales ("all other Instruments")
w/
Evan Parker (soprano and tenor sax-1)
Paul Rutherford (trombone)
J Spaceman (electric guitar)
Matthew Shipp (Fender Rhodes piano)
Ed Coxon (violins-2)
George Trebar (electric and acoustic bass-2)
John Edwards (bass)
Han Bennink (drums)

{Primary Source: THI 57123.2}

02.02.12

Antipop Consortium: Antipop Consortium vs. Matthew Shipp

Thirsty Ear Recordings (The Blue Series) THI 57120.2 (CD) 2003

[Also:]
1st session
[Also: 03.10.01 & 03.11.01]

February 12, 2002
Sorcerer Sound
New York City

  1. Places I've Never Been [3:21]
  2. Staph [5:38]
  3. Slow Horn [3:10] {*} (listed as "untitled" on THI 57124.2)
  4. A Knot in Your Bop [4:03]
  5. SVP [5:19]
  6. Coda [3:24]
  7. Stream Light [3:41]
  8. Monstro City [3:06] {**}
  9. Free Hop [3:08]
  10. Real is Surreal [7:14]
"...tracks culled from reconstructed improvisations by the quintet..."

Antipop Connsortium: Beans and Priest (vocals, synth, programming)
Matthew Shipp (piano)
William Parker (bass)
Khan Jamal (vibes)
Daniel Carter (trumpet)
Guillermo E. Brown (drums)

{Primary Source: THI 57120.2; THI 57124.2; THI 57138.2; session dates and venue via Thirsty Ear's David Aaron correspondence 03.11.10}


02.03.06

DJ Spooky that Subliminal Kid: Optometry

Thirsty Ear Recordings (The Blue Series Continuum) THI 57121.2 (CD) 2002

[Also:]
March 6, 2002
Sorcerer Sound
New York City

  1. Ibid, désmarches, ibid [5:40]
  2. Reactive Switching Strategies for the Control of Uninhabited Air [6:14] {*}
  3. Variation Cybernétique: Rhythmic Pataphysic - (Part I) featuring Daniel Bernard Roumain (DBR) solo violin [2:48]
  4. Asphalt (YTome II) featuring Carl Hancock Rux (vocals) and Pauline Oliveros [7:03]
  5. Optometry - featuring Billy Martin's "beats" & Daniel Bernad Roumain (DBR) solo violin [11:36]
  6. Sequentia Absentia (Dialectical Triangulation I) [7:03]
  7. Rosemary [4:10]
  8. Dementia Absentia (Dialectical Triangulation II) [3:34]
  9. Parachutes - featuring Napolean of IsWhat?! & Daniel Carter [5:26]
  10. Absentia Absentia (Dialectical Triangulation III) featuring High Priest of Anti-Pop Consortium [3:51]
  11. Variation Cybernétique: Rhythmic Pataphysic - (Part II) featuring Daniel Bernard Roumain (DBR) solo violin [2:13]
  12. Périphique [9:07]
  13. It's a mad, mad, mad, world [5:11]
[All compositions, Paul D. Miller aka DJ Spooky]

Matthew Shipp (piano)
Joe McPhee (tenor sax, trumpet) Daniel Carter (saxophone and flute)
William Parker (bass)
Guillermo E. Brown (drums)
DJ Spooky (laptop; kalimba; turntables; upright bass)

"Engineered by FLAM, recorded at Sorcerer Sound, March 6th, 2002
mixed (and additional editing & programming) at Mindswerve Studios, NYC - March & April 2002"

{Primary Source: THI 57121.2; THI 57140.2; session date and DJ Wally info via FLAM correspondence 03.11.06}


02.06.12

Maneri Ensemble: Going to Church

AUM Fidelity AUM024 (CD) 2002

June 12, 2002
Seltzer Sound
New York City
  1. Blood And Body (the ensemble) [31:32]
  2. Before The Sermon (the ensemble) [8:39]
  3. Going To Church (the ensemble) [13:56]
Roy Cambell (trumpet)
Joe Maneri (alto sax; tenor sax; clarinet)
Mat Maneri (viola)
Matthew Shipp (piano)
Barre Phillips (bass)
Randy Peterson (drums)

{Primary Source: CD AUM024}


02.06.26

Matthew Shipp: Equilibrium

Thirsty Ear Recordings (The Blue Series) THI 57127.2 (CD) 2003

June 26, 2002
Sorcerer Sound
New York City

  1. Equilibrium [3:44]
  2. Vamp to Vibe [5:28]
  3. Nebula Theory [5:25]
  4. Cohesion [6:35]
  5. World of Blue Glass [5:26]
  6. Portal [1:13]
  7. The Root [5:03]
  8. The Key [4:12]
  9. Nu Matrix [4:01]
[All compositions, Shipp]

Matthew Shipp (piano)
William Parker (bass)
Khan Jamal (vibes)
FLAM (synths and programming)
Gerald Cleaver (drums)

"Engineered by FLAM, recorded at Sorcerer Sound, June 27, 2002
mixed (and additional programming) at Mindswerve Studios, NYC - July 2002"
The liners on this disc give the session date simply as "July".

{Primary Source: THI 57127.2; session date via FLAM correspondence 03.11.06}


02.07.13

David S. Ware Quartet: Freedom Suite

AUM Fidelity AUM023 (CD) 2002

July 13, 2002
Systems Two Studio
Brooklyn, NY
    Freedom Suite
  1. I [7:05]
  2. II [11:38]
  3. III [8:12]
  4. IV [12:30]
[Composition, Sonny Rollins, arranged by David S. Ware]

David S. Ware (tenor sax)
Matthew Shipp (piano)
William Parker (bass)
Guillermo E. Brown (drums)

{Primary Source: AUM023}

Freedom Suite at the AUMFidelity website.

02.10.01

[Antipop Consortium: Antipop Consortium vs. Matthew Shipp]

Thirsty Ear Recordings (The Blue Series) THI 57120.2 (CD) 2003

2nd session
[Also: 02.02.12 & 02.11.01]

October 1, 2002
Sorcerer Sound
New York City

"...tracks culled from reconstructed improvisations by the quintet..."

Antipop Connsortium: Beans and Priest (vocals, synth, programming)
Matthew Shipp (piano)
William Parker (bass)
Khan Jamal (vibes)
Daniel Carter (trumpet)
Guillermo E. Brown (drums)

{Primary Source: THI 57120.2; THI 57124.2; THI 57138.2; session dates and venue via Thirsty Ear's David Aaron correspondence 03.11.10}

02.11.01

[Antipop Consortium: Antipop Consortium vs. Matthew Shipp]

Thirsty Ear Recordings (The Blue Series) THI 57120.2 (CD) 2003

3rd session
[Also: 02.02.12 & 02.10.01]

November 1, 2002
Studio Massif
New York City

"...tracks culled from reconstructed improvisations by the quintet..."

Antipop Connsortium: Beans and Priest (vocals, synth, programming)
Matthew Shipp (piano)
William Parker (bass)
Khan Jamal (vibes)
Daniel Carter (trumpet)
Guillermo E. Brown (drums)

{Primary Source: THI 57120.2; THI 57124.2; THI 57138.2; session dates and venue via Thirsty Ear's David Aaron correspondence 03.11.10}


03.01.09

Matthew Shipp: The Sorcerer Sessions

Thirsty Ear Recordings (The Blue Series) THI 57141.2 (CD) 2003

January 9, 2003 Sorcerer Sound
New York City
  1. Pulsar [3:07]
  2. Keystroke [3:42]
  3. Lightforms [4:16]
  4. Urban Shadows [7:15]
  5. x6 [2:14]
  6. Fixed Point [3:32]
  7. Invisible Steps [3:44]
  8. Particle [5:24]
  9. Reformation [4:05]
  10. Modulate [3:16]
  11. Last Chamber [2:21]
  12. Mist [5:47]
[All compositions, Matthew Shipp]

Matthew Shipp (piano, synthesizer)
FLAM (programming, synthesizer)
Evan Ziporyn (clarinet, bass clarinet)
Daniel Bernard Roumain (violin)
William Parker (bass)
Gerald Cleaver (drums)

"Engineered by FLAM, recorded at Sorcerer Sound - Jan. 9th, 2003
mixed (and additional programming) at Mindswerve Studios, NYC May 2003"

{Primary Source: THI 57141.2; session date via FLAM correspondence 03.11.06}


03.04.28

David S. Ware String Ensemble: Threads

Thirsty Ear Recordings (The Blue Series) THI 57137-2 (CD) 2003

April 28 [& June], 2003
Sorcerer Sound
New York City
  1. Ananda Rotation [6:39]
  2. Sufic Passages [9:02]
  3. Weave I [3:21]
  4. THREADS [13:01]
  5. Carousel of Lightness [9:02]
  6. Weave II [3:41]
[All compositions, David S. Ware]

David S. Ware (tenor sax)
Matthew Shipp (Korg Triton Pro X: string pads and various piano settings)
Mat Maneri (viola)
Daniel Bernard Roumain (violin)
William Parker (bass)
Guillermo E. Brown (drums)

"Engineered by FLAM, recorded at Sorcerer Sound:
Group recording (except david) April 28, 2003
David's overdubs: June 13th, 2003
mixed at Mindswerve Studios, NYC late June/early July 2003"

{Primary Source: THI 57137-2; session dates via Steven Joerg correspondence 03.10.08, and FLAM correspondence 03.11.06}

03.07.12 • Matthew Shipp Trio: STOPSMILING 16

STOPSMILING Magazine Issue 16 (Mag & 7"EP) 2004
(A-Side / for B-Side see: 00.04.03]

July 12, 2003 / The Studio, New York City
    (A-Side)
  1. 3 in 1 [:]
Matthew Shipp (piano)
William Parker (bass)
Guillermo E. Brown (drums)

{Primary Source: STOPSMILING 16; session date and venue via Matt Shipp correspondence 04.13.13}

04.00.00 (1) • El-P, featuring the The Blue Series Continuum: High Water

Thirsty Ear Recordings (The Blue Series) THI 57143.2 (CD) 2004
Date ? / Sorcerer Sound, New York City & Definitive Jux Studios, Brooklyn, NY
  1. Please Stay (Yesterday) [2:37]
  2. Sunrise Over Brooklyn [10:34] *
  3. Get Your Hand Off My Shoulder, Pig [6:35]
  4. Get Modal [5:06]
  5. Intrigue in the House of India [6:33]
  6. Something is Wrong [4:09]
  7. When the Moon Was Blue (featuring Harry Keys) [6:42]
  8. Please Leave (Yesterday) [1:49]
El-P (Arrangements, Compositions, Mix)
Daniel Carter (flute, reeds)
Roy Campbell (trumpet)
Matthew Shipp (piano)
Steve Swell (trombone)
William Parker (bass)
Guillermo E. Brown (drums)

{Primary Source: THI 57143.2; THI 57136.1}


HEY!!!

Vision Fest '97


Susan Littenberg: "There is indeed a document of the Vision Fest '97! I am the proud director/producer of the project and would love for more folks to know about it! It has screened at the Library of Congress Jazz Film series, at the Louisville Film Festival, and at the South Bronx Film Festival. It really needs a chance to be seen and heard more broadly. I am currently selling it myself at $20 for the video plus $5 shipping, checks made out to me, Susan Littenberg 42 Sterling Place Brooklyn, NY 11217. Inquiries received at my email at susanl@rcn.com."



Thanks

Assistance, Direction, and Encouragement has come from
the following gracious individuals--



Details search for the Matthew Shipp Discography:

[Much of this info requires "inside" knowledge, so if you have pertinent contacts with label reps, session producers, musicians involved, recording engineers, etc., I'd be grateful.]

Ephemera:

Gold Sparkle Band: ...Plays 2 by Shipp

Nu Records Nu 2 (45rpm) 1998
Limited Edition, 500 copies
  1. Flow of Y
  2. Flow of X
[Compositions, Matthew Shipp]

Charles Waters (ss)
Roger Ruzow (tp; pughorn)
Chris Riggenbach (b)
Andrew Barker (d)

{Primary Source: Nu 2}

"...The reason both of these tracks work is because they are re-arrangements, not slavish imitations of the originals... GSB has offered up a real treat which should be snapped up before it's gone."
[Review by David Lewis in CADENCE, Oct '98, p.21]

Ordering info:

Available for $6.25 postpaid.
Send a money order or well-concealed cash to:

Nu Records
Box 5655
Atlanta, GA 31107
[goldsparkle@hotmail.com]

[Also available, $12.25 postpaid:]

Gold Sparkle Band: DOWNsizing

Nu Records Nu 1 (CD) 1997

Downsizing Nosedive / Posledni Autobus Z Bratislavy / Hoggin / Realignment / Lamentations / Architexture / Rufus Respit / Junction / Gemini III / Downsizing Triplex
[59:27]

Charles Waters (ts; ss; cl; bcl) / Roger Ruzow (tp; perc)
Chris Riggenbach (b) / Andrew Barker (d)

{Primary Source: Nu 1}

"...one hell of a record and GSB is one hell of a group. Well worth investigating and strongly recommended."
[Review by Robert Iannapollo in CADENCE, Dec '97, p.98]

Back to Shipp Discography / Flow of X.

Matthew Shipp Interview by Pete Gershon, October 2, 1997

PG: Imagine my surprise when I walked into Barnes and Noble last week and saw you on the cover of Jazziz. [October '97 issue]

MS: Where was this, up in Connecticut, I mean, Vermont? Yeah, I'm sure that surprised a lot of people.

PG: I took it as a good sign that one of the glossies was finally acknowledging something outside of the mainstream.

MS: Right. Well, the editors and the writers from Jazziz, yeah, they really feel like there's something exciting going on, especially in New York and it deserves to be talked about. So I do think generally it's a good sign.

PG: Did you like the article on the Vision Festival?

MS: Well, I think it's great that this school of music is beginning to be taken seriously. Like a lot of people in the Vision Fest, a lot of them have been on the scene for years and years. There's been a lot of energy from this neighborhood, the Lower East Side. Not that the Vision Fest is exclusively a Lower East Side thing, 'cause we brought in other people, but yeah, it's good that it's being taken seriously.

PG: As someone who plays music outside the mainstream, how have you fared with the business side of things?

MS: Um, well, what exactly do you mean?

PG: Well, for example, are you paid fairly for your recording and performing?

MS: Well, I have kind of a business mind which a lot of people in music don't have, so I try and make sure... well, I'm making a living. I don't have another job. Do I feel like I'm being paid fairly? No. I'm not saying anyone's trying to rip me off, but you know, if I was getting paid fairly, I think I'd be making as much as a doctor or a lawyer makes, becuase I've spent that much time on my craft. But I am making a living. I just picked a very tough profession to go into. I knew what I was getting into, though. It takes a long time.

PG: How do you feel about being one of the musicians that's introducing jazz to a younger crowd?

MS: Oh, that, I feel, a) it's a great honor to do that, and b) it's a lot of responsibility, because there are some people who think jazz is just something their parents listened to and don't take it seriously, but they come into it through myself or David Ware, Charles Gayle or William Hooker, and I feel like I'm representing a great tradition. I really feel like I have to be present and focused at the gig, if these kids are going to be introduced to jazz through us. There are a lot of people who might not know much about jazz, but they'll see me play, or William Parker, and they'll be inspired to go out and buy a Coltrane record. I feel that's really a big responsibility.

PG: The grassroots style of touring you've undertaken is something that seems to be happening more and more with jazz bands. A lot of people would just be content to play in New York, or wouldn't play at a rock club in Burlington, Vermont or whatever. Musicians seem to be more attuned to going on the road with their music these days.

MS: Well, I don't think anyone's just thought of it. Some jazz musicians are just waiting around for a huge advance, and they don't wanna go out on the road, and in America, that just doesn't come. You gotta get out there and build an audience.

PG: Have club owners seemed excited to have you back, or have they been inspired to book other avant garde music in their clubs as a result of your performances?

MS: Well, the first tour was William and I together. Since then, William's gone back solo, and I've gone back with my own band twice. Assif (Tsahar) and Suzie (Ibarra) have gone out to some of them, so I do think we're building up a little network. A lot of Knitting Factory bands are getting out there, too, Thomas Chapin... Yeah, I think we're opening up some kind of circuit. The only problem is that, although some gigs we did were funded through arts orginizations or radio stations, and in those cases there wasn't so much pressure to have a huge door, but there's a certain fee that we really like to ask for, and sometimes it can be difficult to get in certain situations. But I think a network is opening up for jazz bands to be able to tour.

PG: Did you come from a musical family?

MS: Not specifically. My father played the tuba in high school. My mother can't sing a pitch. My parents were big jazz fans, though. They had a big record collection, all kinds of stuff. They bought jazz records that would have been popular in the 50s and 60s. Ahmad Jamal, Errol Garner, a lot of Duke Ellington, some Basie. My mother was good friends with Clifford Brown. I'm from Wilmington, Delaware, his hometown. My mom went to school with him. They had light classical stuff, too, and stuff like Ray Charles. They never really searched stuff out, but it was a diverse collection.

PG: Did Wilmington offer good musical opportunities?

MS: There was a little scene, there, actually. A lot of it was centered around this one guy who was Clifford Brown's teacher. He had a lot of students. I used to do workshops with him, take lessons at his house. There was a big band, students would get together and jam in different places. There were restaurants you could get gigs at. I was a straight ahead pianist at the time and was a cocktail pianist at this one place. Fridays and Saturdays I led a quartet at another. There was an actual scene of sorts.

PG: Have you always been interested in atonality?

MS: I don't consider myself atonal. I consider myself pantonal. But yeah, I've always liked the piano music of Schoenberg. I remember buying Schoenberg's solo piano works at a department store when I was a kid because I liked the cover. I listened to it, and loved it. I liked classical music that was "stretched"... I really don't like the word atonal. I have problems with that word. But I've always liked music that people would consider atonal.

PG: Was there a moment where you said to yourself, "Yes, I want to play music for a living."

MS: Yeah, I decided around 12 actually that I wanted to go into music as a profession. I remember seeing Ahmad Jamal on TV and was really floored by what I saw, and thought it'd be really cool to do that for a living. My parents were really into him. There were other factors, too. I think I realized I wasn't going to be a professional athlete! (laughs)

PG: You went to the New England Conservatory?

MS: For a year. Yeah, when I graduated from high school, I did not want to go to college.I really didn't. I always felt that music was a language to be learned and infused by playing with other musicians. So I really didn't want to go to school. I wanted to practice all day and jam all day. My father worked at the University of Delaware, so I was able to go there for free. And since it was free, I realy didn't take it very seriously. I didn't go to any of my classes, I just practiced all day. I joined the stage band, the jazz ensemble. Then I just dropped out of school, stayed home and had a great jazz teacher, Dennis Sandole, who was Coltrane's teacher, and I worked professionally around the Delaware / Philadelphia area for a couple of years. then I went to the New England Conservatory for a year, mainly because I wanted to move to New York, but my style wasn't really together yet. I just needed a little more time. That year I was there, I found like-minded musicians and we'd play every day, trying to work out our styles. That had nothing to do with school, though. I stopped going to classes after a few weeks, and moved to New York the following year when I felt I was ready.

PG: Your music has a very organic sound, yet something tells me you might have an interest in electronically-generated music.

MS: Um, do you have "Points"? In the liner notes I talk about how I really like Herbie Hancock's electronic stuff. I'm interested in space age music. I think I approach an acoustic instrument with a space age mentality, maybe that's what you're hearing.

PG: I take it you're a fan of Sun Ra?

MS: Yeah, to me Sun Ra, well I don't even know where to begin talking about him. His music is a universe in and of itself, and it's almost impenetrable. He touched on so many things and so many ideas that I almost think of him the way you'd think of a writer like Borges. He just understands so much about language, even if he doesn't delve into it, he touches on it at some points. There's corridors and labyrinths everywhere in his music, I don't even know where to start. How many people can you say are visionaries who also played with Fletcher Henderson? He encompasses all of that. He really brought the realm of myth into jazz, which can get really bogged down in its own sense of self-importance. I think it's great that he brought myth into it, in a very serious way of course, but with a sense of humor. I think he's so brilliant.

PG: Have you ever dabbled in electronic keyboards?

MS: I used to own a Fender Rhodes when I was a cocktail pianist. Some gigs there'd be an acoustic piano, but sometimes there wasn't. I grew up in the age of fusion, of course.

PG: You mentioned liking Herbie's group. Did you like a lot of that stuff?

MS: Well, I listened to all of it, and some, I mean, Mahavishnu Orchestra, The Inner Mounting Flame, that's a transcendant album, to me. But no, I'm not specifically a fan of fusion. But I'll check out anything anybody's done on keyboards.

PG: Long-term artistic goals?

MS: I view my career as the proliferation of albums that I make. I have a whole graph in my head of what I want to produce, 'cause that's how people look back at you. Obviously, some people are gonna remember seeing you play live here, here and here, but most people's awareness of your career is centered around your flow of albums. I have an exact agenda in my mind in terms of the albums I want to put out, and in fact, I don't want to do that many more. I mean, I want to have a long career in terms of touring and performing, but I see my basic output... well, I have a trio album coming out early next year, then I have three more for HatArt, then I have a vision of doing three more for an American label, I can't say right now, then that's it.

PG: Will you continue to play as a sideman?

MS: I don't even want to do that many more albums as a sideman. Some musicians tend to fall into a trap of generating albums for cash advances. I need the money, too, but I want to make my albums count both commercially and artistically. I'm trying to get the contacts together now so I can just tour and perform. I just don't want to generate albums for quick cash. I can name loads of jazz musicians who have fallen into that trap and it can get very dangerous. Say I do six or eight more albums, which is what's on the map right now. If I do still feel like I have something to say as a leader... I don't know at what point I'll dry up. I know I have six to eight more albums. I know that for a fact. After that, I don't know.

2-Z

by Robert Hicks

At the center of any jazz improvisation is dialogue. In duo, that conversation between instruments, the interplay of colors and shadings, of timbre and harmonics, of rhythm and melodic statement, is brought into heightened focus.

Pianist Matthew Shipp enjoys the challenge and intimacy of duo outings. "I like to work in duo," says Shipp. "It helps me to expand what I'm doing. I can function more as a rhythmic instrument or develop more harmonically. I get to control more of the parameters of the music. There's something really great about the raw interaction between two people."

Here on 2-Z, he joins AACM saxophonist Roscoe Mitchell for a similarly structured endeavor. Mitchell too has been working on the duo front lately with trombonist George E. Lewis and pianist Borah Bergman, but with Shipp on 2-Z, Mitchell has found a good companion for their multilayered voicings.

Shipp and Mitchell are no foreigners to one another, having performed together in Mitchell's Note Factory and recorded with that ensemble on This Dance Is for Steve McCall (Black Saint), but 2-Z represents their first collaboration with Shipp as a leader. "I've always wanted to work with Roscoe," says Shipp. "I admired his work a lot while I was growing up. I talked to violinist Billy Bang one day and he gave me Roscoe's number. So I sent him some of my material and he called me up. That's when I started working with him in the Note Factory. Within his group, we would do things in duo a lot when we performed on tour. I thought he'd be a good partner for a duo recording."

Shipp and Mitchell come from different worlds, but share at times in their music an incremental, minimalist approach to phrasing. Shipp grew up in Wilmington, Delaware, starting piano at the age of five. Through foundational studios with Dennis Sandole, John Coltrane's teacher, and Robert "Boysie" Lowery, an instructor of Clifford Brown, Shipp has developed his sound over the years to embrace a set of thematic progressions that take on orchestral dimensions, psychological depth, and spiritual and rhythmic intensity.

Shipp has become a staple in New York's Downtown scene, performing regularly at the Knitting Factory and Roulette. His association with Rick Rubin and Henry Rollins has even garnered attention from a rock crowd, including critical raves in a lead review in Rolling Stone. And he's served notice in Europe too, touring with his own quartet as well as with the David S. Ware Quartet and Mitchell's Note Factory.

Mitchell's career began with the Assocation for the Advancement of Creative Musicians in Chicago, where he became grounded in his structuralist principles of composition and improvisation. Fame came through his work with the Art Ensemble of Chicago, a group that grew out of the Roscoe Mitchell Sextet in the '60s.

The Chicago-born Mitchell remembers his musical up-bringing as a community experience, where he could hear anything from Billie Holiday, Ella Fitzgerald, and Joe Williams, to R&B, gospel, jazz and 50s harmony groups on the local jukebox. While these musical styles don't surface in his own music directly, Mitchell's exposure to so many different types of music bore an openness to sound and an independence to venture on to his own musical terrain. It is that spirit of the individual which Shipp and Mitchell share as well, but they never let their own predilections overstep the need to communicate with one another on 2-Z.

"I've become more attuned to the AACM and to different methodologies through Roscoe Mitchell," says Shipp. "We're not at all alike in our group concepts, but it's interesting to see how we can converse musically from our different methodologies. That way you can grow."

The growth is evident on 2-Z, from its serene passages to its pointillistic images. An impressionistic wave of sounds can open up myriad associations for both Shipp and Mitchell. And when the moment strikes them, they can escape into a flurry of wild abandonment. There are multiple layers of space and time all tied together with a shared spirituality.

Robert Hicks, November 1995
Transcribed by Justin James Kau.

David S. Ware Quartet: Third Ear Recitation

[Liner notes by Ben Ratliff:]

One evening after a rehearsal in 1974, David S. Ware lay on his bed in the Canal Street apartment he was sharing with a few other musicians, and briefly heard the music of the spheres.

"It was just like somebody turned on the radio. I heard music. But it wasn't coming from anywhere; it was coming from within me. I heard spontaneous music, accompanied with color. It was multi-rhythmic, that's for sure. It wasn't like a tune where you have one melody accompanied by one rhythm; it was like all encompassing rhythms and melodies, a thousand or million of 'em going at one time. It was a very short experience, only three to five seconds at the most. Just enough to let me know that it was there."

That experience and that music was the indication of something Ware had long been interested in: the idea that music isn't created, but lives independently of us, and that we can draw from it to play it when we have the proper knowledge. "Another way to put it," he explained to me, "is that there is a universal reservoir of music; it's music that exists, somewhere in the deep regions of the universe, and I don't mean out there, I mean in here, within. Myriad creative composers over the centuries have tapped this reservoir. It's music that exists already, apart from but connected to our being. It's my understanding that all music comes from that place."

The title of this record, David's second for DIW, may need a little explanation. All that's really meant by the "third ear" is a subtle, more refined sense of hearing. When it's cultivated, one can begin to hear the "inner music" - the spiritual language of music. "The refinement of all five senses is an integral part of the spiritual path, and I'm only singling out the sense of hearing," he says. "This has to be seen in the overall context of spiritual development. When you grasp the inner meaning of music, you can hear on a level where music takes you somewhere within yourself; it puts you somewhere." (The experience above, as you've probably guessed, was "in the realm of the third ear.") A "recitation," of course, is a reading of something that already exists - whether it's tangible (on paper) or intangible (in the mind). So Ware is using his third ear to tell you what he knows.

The method of Ware's working quartet - which has changed since his previous DIW recording, Flight of i, only in that Whit Dickey has replaced Marc Edwards on drums - is nothing if not thorough. The music on this record was in preparation for five months, an unusually long time for a jazz record or any kind of record. It unfolded over a period of perhaps fifty rehearsals, gaining delicacy, momentum, and density. Density, in particular, is Ware's natural inclination: his tone is among the broadest of tenor saxophonists working today, his lines contain a great amount of notes, and he prefers a deeply enmeshed ensemble sound as well. "It's just the way that my nervous system translates to my fingers. It runs along the same course as my harmonic sense and melodic sense, but more my harmonic sense. There's no space in between the notes; it's like they melt into one another. Each note slides; it blends, it bends, for me." The final affect of these pieces is a worked-in feeling; they're gemlike, like the later Rouault paintings, where whimsical, light-handed strokes and layers of darker oils aren't at odds with one another. This music sounds like a felicitous meeting of lifelong preparation and flashed spontaneity.

Two takes of "Autumn Leaves" are included here not because of subtle differences, but because of basic ones. In the first, Matthew Shipp comps the melody at a stately pace, staying absolutely true to the textbook; he does not solo. Ware, meanwhile, is playing what he calls "state-of-the-art" tenor - the territory of highly refined sound. Notice that he's not just describing the curve of the melody in his flurries of notes; he's always playing the changes. And in this piece especially, Ware's not just playing the changes, but the overtones of the notes of the melody. In the second version, Ware opens with a solo and the band enters on a completely different tack: this time Shipp solos right after Ware's unaccompanied intro; William Parker develops a plucked solo out of a long arco passage, and then returns to bowing; and Dickey's playing is much sparser. Notice Ware's way of creating tension, especially in the out-chorus of the second version: he balances an almost ballad-style reading of the melody with a superimposition of his "dense" style. The positioning of the more reverential version first isn't necessarily "introductory" - it's just one of the thousands of ways of hearing the tune.

When most musicians want to play a Sonny Rollins "standard," they go for "St. Thomas," or "Airegin," or "Oleo" - something Rollins nailed permanently, something which will never shake off Rollins' touch. Ware, who learned circular breathing from Rollins at the age of sixteen, and upon whom Rollins probably made more of an impression than any other tenor player, went to "East Broadway Run Down," a piece that's really just a short, wriggly motif. But it's the kind of Rollins piece that direcly affected Ware's own writing. The Ware group takes it at almost twice the tempo Rollins did (on the album of the same name in 1966), and makes the motif drive like a bullet.

After the first time Ware rehearsed the composition which he was to title "Mystic March," he went home, listened back to the tape, and saw an image. "It's a group of very spiritually advanced human beings moving through space and time. They're maintaining their cadence, their march, through all that comes: wars, famines, droughts, going from one age to another, and they're maintaining their march, their flow. Whit, playing in an militaristic character as a metaphor for staying unaffected, isn't changed by Matthew's and William's stride; they're playing in a slightly different meter. They do catch him at times, but I wanted Whit to maintain the march and stay strong."

Ware loves the standard "Angel Eyes" for its melody - another predominantly minor-key melody, like "Autumn Eyes." ("The melody is always my guide," Ware instructed the band before take one. "I don't care how far out I get, if I'm not following some part of the melody, then I'm not there.") But the minor third is one of the basic ingredients of Ware's music; even when the melody is technically major, the minor concept runs through all his music, given all the harmonics and half-tones involved.

The four shorter pieces on the record were originally conceived as parts of three long suites Ware wrote for the record. Up until the time of recording, Ware rehearsed the band to play the suites in the form he composed them, but at the time of making the record, Ware reconsidered and found most of the chapters within the suites complete in themselves. "Third Ear Recitation" is structured from two lines, played by Ware, Shipp and Parker in various positions to each other. To Ware, the lines "relate like male and female"; the piece is built upon the idea of parallel universes, "realities that both sustain each other and remain distinct." "Free Flow Dialogue" is another of Ware's jolted motif pieces, and it's a good game of catch: in it you can hear how Whit Dickey is able to pick up Ware's rhythms and incorporate them into whatever pattern he's developing, and vice versa.

The devotional-sounding "Sentient Compassion," Ware explains, comes with a dedication to "a sentient being named Willie, who I'm sure will be able to find his way into another body and continue on. Sentient compassion is a must; it has to be developed in order to alleviate cruelty and thougtless acts. That won't happen if you develop a sense of compassion. You'll have that connectedness, that knowing that the same life that's in you is in every other being, so you're not going to mishandle life." Finally, "The Chase" is dedicated to Ware's friend Beaver Harris, who died in December 1991 - an excellent drummer who firmly believed that tradition could be extended in almost any direction. "Beaver considered himself to be the link between so-called 'avant-garde' drumming and the more straight-ahead styles," Ware says. "And I would have to go along with him. Because Beaver could play on what I call a horizontal plane, and he could also play free. Not that other so-called free drummers could not play horizontally; they could. But whenever Beaver did it, it seemed like he really loved it. Some cats do it, but they don't do it because they love it; they do it because they want people to know that they can play like that. 'The Chase' is a horizontal piece; the music is moving in a horizontal plane." Ware tends naturally to explain his music in metaphysical terms; another word for the "horizontal plane" is swing.

David believes it was Beaver Harris who gave him some of his most important disciplinary directives as a musician. Harris had played with Thelonious Monk, Sonny Rollins, Albert Ayler and Archie Shepp; through Harris' teaching in the mid-1970s, David started to become aware that the whole posture of the music changes, depending on what meter you're executing it in. To use that kind of logic is one of the cornerstones of modern saxophone playing. By talking about these things and having acts actually demonstrate them before me, Beaver really made me more aware of this."

But that music of the spheres - was it Ware's music?

"No." He repeated this, softly and unequivocally, eight times. "Like no music I've ever heard. But I'll tell you something, I'll tell you this. If you've ever checked out symphony orchestras when they tune up on television, well, to me, that is the most interesting part of the performance. That might give you an idea of it. When I'm listening to an orchestra, and they're tuning up?" He sang a note loudly as if a hundred instruments were playing it - sounding a bit like what preachers call speaking in tongues. "Oh, man! That is the most interesting part, right there!

Liner notes by Ben Ratliff
Transcribed by Justin James Kau.

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