Space Shipp @@us/uswm2/350/444350_1_01.asx?obj=v20206@@ Nu-Bop @@us/uswm2/350/444350_1_02.asx?obj=v20206@@ ZX-1 @@us/uswm2/350/444350_1_03.asx?obj=v20206@@ D's Choice @@us/uswm2/350/444350_1_04.asx?obj=v20206@@ X-Ray @@us/uswm2/350/444350_1_05.asx?obj=v20206@@ Rocket Shipp @@us/uswm2/350/444350_1_06.asx?obj=v20206@@ Select Mode 1 @@us/uswm2/350/444350_1_07.asx?obj=v20206@@ Nu Abstract @@us/uswm2/350/444350_1_08.asx?obj=v20206@@ Select Mode 2 @@us/uswm2/350/444350_1_09.asx?obj=v20206@@
Jazz and electronica mated many times before NU BOP, on both the electronic side (Squarepusher, Tied & Tickled Trio) and the jazz side (Erik Truffaz, Graham Haynes), but seldom so purposefully and definitively as on this recording by boundary-pushing pianist Matthew Shipp. While Shipp is joined here by three esteemed downtown jazzers, the addition of the colourfully named Flam on electronics takes NU BOP that extra step from acoustic, '60s-inspired avant garde jazz to a fresher brew of jazz improv flavoured by synth textures and laced with programmed beats.William Parker's churning bass lines veer between frenetic, Alan Silva-inspired free jazz to syncopated patterns that flirt with electronica-derived drum-and-bass rhythms, and whichever way he leans he's met at each end by the sympathetic percussive responses of Guillermo E. Brown. Shipp's knotty piano work intertwines with the gritty exhalations of saxophonist Daniel Carter atop the whole thing, riding the hybrid sound to glory like a visionary drunk trying to keep a runaway locomotive from flying off the track. Of course, those moments when the band does fly off the track prove to be among the most interesting.
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