Matthew Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all of his own, and he's one of the few in jazz that can say so. Shipp has recorded a lot of albums with many labels but his 2 most enduring relationships have been with two labels. In the 1990s he recorded a number of chamber jazz cds with Hatology, a group of cds that charted a new course for jazz that, to this day, the jazz world has not realized. In the 2000s Mr. Shipp has been curator and director of the label Thirsty Ear's "Blue Series" and has also recorded for them. In this collection of recordings he has generated a whole body of work that is visionary, far reaching and many faceted. Matthew Shipp is truly one of the leading lights of a new generation of jazz giants....
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Matthew Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all of his own, and he's one of the few in jazz that can say so. Shipp has recorded a lot of albums with many labels but his 2 most enduring relationships have been with two labels. In the 1990s he recorded a number of chamber jazz cds with Hatology, a group of cds that charted a new course for jazz that, to this day, the jazz world has not realized. In the 2000s Mr. Shipp has been curator and director of the label Thirsty Ear's "Blue Series" and has also recorded for them. In this collection of recordings he has generated a whole body of work that is visionary, far reaching and many faceted. Matthew Shipp is truly one of the leading lights of a new generation of jazz giants.
A musician who deserves a place of choice in the jazz piano pantheon - Matthew Shipp is the connection between this past, present and future for jazz heads of all ages. (Downbeat)
It's a joy to follow his ardent flow unfolding like a well-told surrealist narrative. (New York Times)
Shipp has helped define, with uncommon distinction, a fresh range of possibilities for contemporary pianism grounded in jazz tradition - raise complex questions and yet invites listeners in. (Wall Street Journal)
Absolute brilliance - the division between mind and body has been completely obliterated - these improvisations are elevated into the realm of composition by an internal logic that only Shipp comprehends - these compositions contain worlds. In conclusion this, Art Tatum, Bud Powell, Herbie Nichols, Thelonious Monk. Cecil Taylor. Matthew Shipp. (The Free Jazz Collective)
Frode Gjerstad is a Norwegian jazz musician with alto saxophone as principal instrument, but he also plays other saxophones, clarinet, and flute. He has collaborated with Paal Nilssen-Love, Borah Bergman, Peter Brรถtzmann, Evan Parker, Derek Bailey, Bjรธrn Kjellemyr, Terje Isungset, William Parker, Sabir Mateen, John Stevens, Johnny Dyani, Kent Carter, and since 1979 has contributed to more than 50 recordings.[2][3]
Gjerstad played in the trio Detail together with the British drummer John Stevens, in the period 19811994, and they released fourteen albums. Other members of the band were the pianist Eivin One Pedersen (198182) and the mega bassist's Johnny Dyani (19811986) or Kent Carter (19871994).
In 1985, he initiated "Circulasione Totale Orchestra", a band with varying lineups, where young musicians, mostly from Stavanger, could get a chance. To the Moldejazz 1989 he composed the commissioned work Dancemble which was performed by a 13-man version of the band. The band was active until 1995 and produced three recordings. In 1998, the band reemerged and released the album Borealis.
He also collaborated with numerous musicians in various small groups, which has resulted in several albums, tours and festival recordings in Norway, United States and Europe. The most long-lasting partnership in recent years is the current issue of Gjerstad Trio where he plays with drummer Paal Nilssen-Love and bassist รyvind Storesund. They debuted at Nattjazz in Bergen 1999 and have released five albums.
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