We live in a world of disasters and near-disasters. Accidents, misfortunes, and catastrophes seem to present themselves to us with alarming regularity, and oftentimes, we're completely unaware that they exist. Such is the case with the career of jazz pianist Matthew Shipp. At the cusp of a new millennium, Shipp was ready to go on what could be described as an indefinite hiatus-- a break from recording to determine exactly what he wanted to get out of his career. It was unclear if another Matthew Shipp record would be released in the near future, if ever again. Shipp's body of work previous to his breather was certainly impressive, but a recess, whether temporary or otherwise, seemed far from tragic.
But be it through divine inspiration, meditative thought, or just a flash of brilliance, Shipp has come back stronger than ever, releasing what could be the two greatest albums of his career. Last year's excellent Pastoral Composure, Shipp's first record since announcing his possible lull in recording, hinted at a level of excellence his previous work had yet to approach. Experimenting with jazz and traditional standards, Shipp constructed what is without a doubt the most accessible album of his career thus far. But if there was any fault to be found with Pastoral Composure, it was that it at times adhered too strictly to standard jazz rhythms and textures. With New Orbit, Matthew Shipp has crafted an album that manages to merge the accessibility and raw appeal of Pastoral Composure with adventurous new textures that go beyond anything he has produced in the past.
New Orbit centers around four "Orbits," spread across the record. The first, second, and fourth Orbits focus on a beautiful piano theme that combines the emotional pull of a descending chromatic scale with the complex, ever-changing melodies and rhythms Shipp is known for. The third Orbit brings the central piano melody to the bass guitar, with frequent Shipp collaborator William Parker extracting remarkably human sounds from his instrument.
The rest of New Orbit complements the central pieces perfectly. In "Paradox X," Shipp's amorphous melodies echo sheer treble, as drummer Gerald Cleaver and bassist Parker rumble beneath. But many of the album's high points come with the work of revered trumpet player Wadada Leo Smith, whose articulate and lively playing lifts the album's sonic palette to even greater heights.
It's kind of startling to think that Matthew Shipp came so close to possibly not recording this amazing album. After 10 years and 17 releases, he's finally released an album that would be as at home in space as it would in a smoky jazz club.
