‘Symbol Systems’ opened a new chapter into the bountiful art of Matthew Shipp, a chapter he has continuously amended to this day.

Albert Ayler’s violent alchemy of Africa and Europe imbues ‘Copenhagen Live 1964’ with historical importance because more than fifty years hence, these ideas put into practice sound as radical today as they did back then.

It becomes clear on solo live performances such as the one captured on ‘Invisible Touch At Taktlos Zürich’ that the more Matthew Shipp is exposed, the more fascinating is his music.

About three and a half years ago, I passed along some thoughts on a young, up-and-coming trombone player from Switzerland, Samuel Blaser. You May Also Like: Michael Formanek Quartet, w/ Tim Berne, Craig Taborn + Gerald Cleaver – ‘Other Zones’ (2022) Tim Berne’s Bloodcount – ‘5’ (1997; 2021 issue) MarcRead More