Lyn Horton

Lyn Horton


Matthew Shipp

Published in Jazz Artist Interviews

Origins originate from a phenomenon other than birth. Honing in on the phenomenon is more conceptual than descriptive. For mere mortals, the journey necessitates a ceaseless repetition of approaching how to understand the ultimate beginning of everything up to and including the self. And for Matthew Shipp, the means to approach this universal understanding is through the piano in the way in which he matchlessly creates sound.

To talk with Matt is to talk to a person boldly adherent to …

For a long time, I can’t be specific, Mat Maneri’s playing has fascinated me. I have sought the door to open to reach Mat for an interview. The door finally opened and I walked through.

We arranged to speak over the phone on a Sunday around noon. Nervousness abounded, butterflies rose and fell inside of me and I made the call. From about 12:30 to 7:30 that night, a rally of phone messages occurred because we kept missing each other. The first time we actually began to converse, we had problem …

William Parker believes in unleashing creativity. His willingness to open those doors is inexhaustible. His practice will lead anyone who is receptive to him. Through the network that is the tapestry of William Parker converts, the world could be at peace. This concert was dedicated to the memory of Malachi Ritcher, who died by self-immolation November 3, 2006, in protest of the invasion of Iraq by the United States.

In this context, Parker’s group, Painter’s Winter, played at the Amhe

Without doubt, the fifth annual Solos and Duos series offered an opportunity to hear the voices of musical innovators whose focus is honed to an edge of unsurpassed acuity. Cecil Taylor, the duo of Joe Morris and Daniel Levin, and Joe McPhee were the performers. UMass Amherst was the venue.

Cecil Taylor

Writing about Cecil Taylor is like trying to translate the Rosetta Stone. His iconoclastic history precedes him. Mapping Taylor’s artistry throu

Creation begins in the most internal constitution of the creator. Whatever language the creator uses to describe something outside, that person is correlating an assortment of givens with the dynamics that animate them. In this case, the creator is pianist and composer Matthew Shipp and his creation is Sacred Geometry. Shipp premiered his work for strings and piano at the Kitchen on November 11, 2006. He was joined for the performance by string players Michael Bisio on bass, Mat Maneri


Releasing the Rigor

Published in Concert Reviews
Dipping into the Meetinghouse in Amherst, MA, on a multi-city tour, reedsman Peter Brötzmann and drummer Han Bennink paired up for a performance that projected a dynamic rarely experienced in the music. A hard-edged European mode of improvisation overcame the acoustically alive room.

Tenacity and intensity go hand in hand. Even though such descriptive nouns might imply a network of rules, those rules might also include flexibility fraught with determination and direction. For Brötzmann, the r


Changing the Seasons

Published in Concert Reviews
In a hall that has tripled in size due to the contributions of area jazz enthusiasts, the Vermont Jazz Center hosted The Billy Bang Quartet on a brisk October night at the slippery edge between summer and fall.

The Billy Bang Quartet is a group that knows where it is going. Violinist Bang as leader has cast a musical net over his band mates. Each member plays with the acuity, diligence, bravura and sensibility which characteristics Bang himself possesses. The incomparable energy of


Meditating on Matt

Published in Concert Reviews

No stronger mind-body-spirit nexus exists other than that of meditation. In fact, the essences of all three dissolve into one in the process. The inside becomes the outside, the outside inside. When that becoming is conscious, peace settles. And we and the universe are indistinguishable.

Meditation can assume many forms. For Matthew Shipp, that meditation is playing the piano. Shipp opened the fall season on September 22 at Firehouse 12 in New Haven, CT in a solo performance.


Innocence and wonder allow creativity to flow endlessly, without inhibition. Bill Frisell knows and practices innocence in everything he does. He continually changes his sound in relation to the context in which he places himself. What the listener will hear is always Frisell though, abstractions, melodies, and all. Frisell takes away all preconceptions about his task of making music and resultantly produces a distinctive sound that within its own prescribed limits reveals no bounds.


Helpful to my appreciation of the ICP performance at UMass Amherst was my visual memory of the work of Pieter Bruegel, a 16th century Flemish painter. Although the subject matter explored by this late Renaissance master frequently took a religious or traditional turn, the way in which Bruegel portrayed the figures in his paintings was remarkably cariactural. Leap to the Instant Composers Pool Orchestra. This is a contemporary big band made up of an extraordinary group of musicians led by D