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Matthew Shipp / Michael Bisio / Whit Dickey / Mat Walerian

with :

Matthew Shipp - piano

Michael Bisio - double bass

Whit Dickey - drums

Mat Walerian - saxophone

toru� 18.11.2012 g.21.30 bulwar kultury ul. bulwar filadelfijski 18

bilety 30 z� _ dost�pne :

bulwar kultury ul. bulwar filadelfijski 18 (godzin� przed koncertem)


Matthew Shipp was born December 7, 1960 in Wilmington, Delaware. He started piano at 5 years old with the regular piano lessons most kids have experienced. He fell in love with jazz at 12 years old. After moving to New York in 1984 he quickly became one of the leading lights in the New York jazz scene. He was a sideman in the David S. Ware quartet and also for Roscoe Mitchell�s Note Factory before making the decision to concentrate on his own music.

Mr 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. Mr. 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.

Biography by Joslyn Layne :

With his unique and recognizable style, pianist Matthew Shipp worked and recorded vigorously during the 1990s, creating music in which free jazz and modern classical intertwine. He first became known in the early �90s as the pianist in the David S. Ware Quartet, and soon began leading his own dates -- most often including Ware bandmate and leading bassist William Parker -- and recording a number of duets with a variety of musicians, from the legendary Roscoe Mitchell to violinist Mat Maneri, who began appearing on recordings in the 1990s. Through his range of live and recorded performances and unswerving individual development, Shipp came to be regarded as a prolific and respected voice in creative music by the decade�s close.

Born in the 1960s and raised in Wilmington, DE, Shipp grew up around �50s jazz recordings. He began playing piano at the young age of five, and decided to focus on jazz by the time he was 12. Shipp played on a Fender Rhodes in rock bands while privately devouring recordings by a variety of jazz players. His first mentor was a man in his hometown named Sunyata, who had an enthusiasm for a variety of studies in addition to music. Shipp later studied music theory and improvisation under Clifford Brown�s teacher Robert �Boisey� Lawrey, as well as classical piano and bass clarinet for the school band. After one year at the University of Delaware, Shipp left and took lessons with Dennis Sandole for a short time, after which he attended the New England Conservatory of Music for two years.

Shipp moved to N.Y.C. in 1984 and soon met bassist William Parker, among others. Both were playing with tenor saxophonist Ware by 1989. Meanwhile, Shipp had debuted as a recording artist in a duo with alto player Rob Brown on Sonic Explorations, recorded in November 1987 and February 1988. Shipp married singer Delia Scaife around 1990. He then went on to lead his own trio with Parker and drummers Whit Dickey and Susie Ibarra. Shipp has led dates for a number of labels, including FMP, No More, Eremite, Thirsty Ear, Silkheart, and more.

In 2000, Shipp began acting as curator for Thirsty Ear�s Blue Series. This excellent series hosted a number of Shipp�s own recordings, as well as the recordings of William Parker, Tim Berne, Roy Campbell, Craig Taborn, Spring Heel Jack, and Mat Maneri. The following year saw the release of Nu Bop, an exploration into traditional jazz, followed closely by its 2003 counterpart, Equilibrium. In 2004 Shipp released Harmony and Abyss, a meditation on repetitive melodic and harmonic structures. One arrived in January 2006 and Piano Vortex followed a year later. 4D, featuring Shipp on solo piano, was released early in 2010.


Michael Bisio bassist/composer.

Michael Bisio invariably astounds audiences with the beauty of his tone and the intensity of his very personal musical language. He has received 4 stars from DownBeat, Jazz Times states his music "resonates with intelligence, emotional depth and probing virtuosity." Journalist Paul DeBarros in Signal to Noise notes; "For years free improvisers have explored the tactile aspect of performance, in which the nature of the encounter between the player and the instrument becomes the subject of the music itself. Bisio is one of the few musicians that has managed to meld this high-concept sense of physicality with the soulful charge of jazz. His fiddle-high, scraped overtones create a tangled choir that is impossible to resist; his expressiveness with the bow is unmatched. Having whirled the listener into a transportive state, he gently shows them the way out..."

"His expressive touch is distinctive." The New York Times

As a recording artist Michael appears on over 50 cds, he is leader on 10 cds and co-leads 7 duet recordings. His recorded output has consistently met with critical praise. Michael's first international release, In Seattle, (Silkheart), was chosen as one of the "Best Jazz Records of the 1980's" in the Village Voice. Connections, (CIMP), released in 2005, reviewed in Cadence Magazine. "...this is another important disc from Bisio and company that highlights Bisio's talents as a musician, composer and bandleader." Expect fourteen new releases in 2009 includoing two more MBQ cds on the CIMP and Not Two labels, duets with Connie Crothers, (Mutable), and Old Dog, By Any Other Name, (Porter Records).

As a composer Michael has been recognized with nine project grants from various arts organizations, in 2003 he was awarded an Artist Trust Fellowship.

Seminal studies in creative music processes were with Bill (William O.) Smith and Stuart Dempster.Early tenure with trumpeter Barbara Donald and saxophonist Carter Jefferson left an indelible mark on Michael's music and spirit. Another major influence is Joe McPhee. Joe and Michael created a body of work that includes two duo cds, Finger Wigglers and Zebulon, (CIMP) in addition to over a dozen other releases including: Port of Saints, (CJR), Joe Giardullo's Shadow and Light, (Drimala), and Angels, Devils and Haints, Joe Mcphee and the World Bass Quartet, (CJR).

Other artists Michael has collaborated with include: Wayne Horvitz, Charles Gayle, Bob Nell, Sunny Murray, Louie Belogenis, John Tchai, Pauline Oliveros, Vinny Golia, Julian Priester, Eyvind Kang, Diedre Murray, Rashied Ali, Jim Nolet, Saadet Turkoz, Dominic Duval, Tomas Ulrich, Oluyemi Thomas, Matthew Shipp, Karl Berger, Warren Smith, Connie Crothers, Sonny Simmons, Jay Rosen, Avram Fefer and Stephen Gauci.

"Bisio's ability to project such a diverse array of timbre and technical skill mark him as one of the leading bassist of his time." Steven Loewy,


Whit Dickey drummer / composer.

Whit Dickey is a somewhat mysterious figure. Anyone who was paying attention to The Music during the mid-90's will know him as the tremendous and uniquely gifted drummer who spent full part-and-parcel time with the phenomenal groups of David S. Ware and Matthew Shipp. To recap, Whit provided the trap-set foundation, pulse and flow to the deep classic sides Third Ear Recitation, Cryptology, DAO, Circular Temple, Flow of X, and Critical Mass (and Elsewhere by the Joe Morris Ensemble) during that time.

In 1996, after parting ways with both of these groups, Whit went through a period of contemplation, woodshedding, and re-alignment. He gave proper time to his compositional urges, and developed material for his full debut as a leader. He recorded Transonic in January of 1997, along with long-time compatriot Rob Brown on alto sax and 'young' Chris Lightcap on bass. Released on AUM Fidelity in 1998, it was voted #3 in the Cadence Readers Poll for Top Records of that year.

In 1999, Whit moved from his long-time dwelling in Brooklyn to an enclave a couple of hours north of NYC, into the country. That summer, during the downtime of reading mystery novels with a broken toe, he developed a new appreciation for the syncretic relationship between air frequencies and dance response. At the end of the summer, he decided to create a new document with these insights playing a large part thereof. The result was Big Top, recorded in November of that year and released on Wobbly Rail in the early summer of 2000.

As with all of these Artists, but perhaps quite a bit more so in Whit's case, his full story remains to be told. - SJ