“The law of chaos is the law of ideas / of improvisa- Stevens preferred poetry to music as an example of creative tions and seasons of belief.” Thus force and “the supreme fiction” (that is, the function of the the 20th century American poet Wallace imagination as a guide to define our personal beliefs) which he Stevens characterizes the conflict – and saw as a viable response to a spiritual void, somewhat surpris- the mutual dependence – between the ing given his devotion to the idea of the abstract as a necessary individual imagination and the appearance, factor in the quest for a meaningful relationship with reality. that is, our recognition, of so-called reality. Music is the most abstract of the ar ts and, beyond its own syn- The premise that there is a “law” at the tax and systems, invites a personal symbolism on the part of heart of anything as fluid and unpredictable the listener. Nevertheless, in his 1945 poem “Esthétique de as chaos, and that it becomes concrete Mal” (The Aesthetics of Evil) he includes a penetrating descrip-

Art Lange, Chicago, 2017 Chicago, Lange, Art through the creative impulses that we tion that can serve as a link to the specific qualities one can accept on faith as “truth,” was one of the associate with the artistry of Matthew Shipp. complex theories he held concerning how we find meaning in our lives. Writing in an “When B. sat down at the piano and made age of alienation and skepticism, Stevens A transparence in which we heard music, made music put his faith in the imagination to transform In which we heard transparent sounds, did he play our insecurities and doubts into an aware- All sorts of notes? Or did he play only one ness of reality as flawed, but vital and In an ecstasy of its associates, inspiring. “The imperfect is our paradise,” Variations in the tones of a single sound, he wrote. The last, or sounds so single they seemed one?” Symbol Systems Symbol As of 2018, and the welcome reissue of this album, Symbol Systems, Symbol Systems, however, occupies a special Matthew Shipp’s recording career has entered its fourth decade, confirming place in his discography. Originally issued in 1995 him as one of the most prolific and imaginative musicians of our time. Pro- on the No More Records label, it was at the time lific, in part, because of an extensive catalogue of collaborations – duos with his sixth release as a leader or co-leader, but signif- several bassists, “conventional” trios, unconventional instrumentations icantly his first solo album, and as such provided us largely featuring guitarist Joe Morr is and/or violist , and espe- with the purest view to date of his multifaceted, cially more than a dozen ventures with notable saxophonists, from David S. indivisible improvisational/compositional concepts. Ware and Ivo Perelman to Roscoe Mitchell and Evan Parker – and imagina- The first characteristic one is likely to notice is the tive of necessity because of the vast range of stylistic responses such dis- diversity of styles he employs – a romantic/ lyrical tinctive musicians required. [For the sake of full disclosure, I should admit perspective, repetitious riffs as energy force, in - that I served as in-studio producer for six of Matthew’s hat Ar t and hatOL- quisitive introspection, propulsive rhythmic mo - OGY releases, from 1996-99.] men tum, circuitous melodic contours. But if we listen closely to Symbol Systems in the context of In Stevens’ terms, the reality of Shipp’s music lies in his Wallace Stevens’ archetypal pianist, several interesting paral- imaginative choices and, equally, in our perception of it. So if I lels emerge. The key words are transparence, variations, and perceive throughout Symbol Systems moments of Ellington- ecstasy. The transparency of Shipp’s improvisations reveal he ian percussiveness, Ivesian intensity, the harmonic sensitivity is an architect of motifs, who designs and elaborates on of Debussy and Ravel, mutated Stravinsky, and a linear projec- shapes and patterns while altering their dynamic and dramatic tion that extends back via Andrew Hill and Bud Powell through emphasis, often in an elusiv e manner that progresses from Bach to the Elizabethan keyboard fantasies of Byrd and Bull, one area of motivic examination to another seamlessly and it’s not due to any conscious borrowing on the pianist’s part, unexpectedly. The variations he employs are not solely the- but the manner in which he has abstracted various keyboard matic extensions or ornamentation, but at times notes circling a and compositional concepts down to their essence, made harmonic nucleus like molecules of melody, or elsewhere shift- them a part of his personal musical symbolism, allowing us to ing gestures through isolated references, such as a hint of share in the world he has created. stride or two-part counterpoint, shaped and shaded with a continuous str ategy of attacks, accents, and tonal colors. And the nature of improvisation, specifically in Shipp’s music, the process and progress of sounds, finds the choice of one note an existential act, and ultimately that note evolves “in an ecstasy of its associates.”

Matthew Shipp Thank you! Whether this is your first recording from Hat Hut Werner X. Uehlinger Records, or yourlisteners. Xth, we We want hope you that to youknow enjoy how this proud recording. we are to have you as a member of our growing world-wide community of It represents our constant aim to bring you the music

of the future to discover. What you hear is what you hear! Symbol Systems occupies a special place in Matthew Shipp’s discography. Originally issued in 1995 on the No More Records label, it was at the time his sixth release as a leader or co-leader, but significantly his first solo album, and as such provided us with the purest view to date of his multifaceted, indivisible improvisational/compositional concepts. OLOGY Art Lange

Symbol Systems occupe une place particulière dans la discographie de Matthew Shipp. Sorti à l’origine en 1995 sur le label No More Records, ce qui fut à l’époque son sixième disque en tant que leader ou co-leader est, avant tout, son premier album solo, nous offrant ainsi l’aperçu jusqu’alors le plus pur de ses concepts multiformes, mêlant inti- Quartet mement l’improvisation à la composition. Art Lange (Translated by Benjamin Mouliets) Copenhagen Live 1964 hatOLOGY 665 Quintet (Basel) 1977 hatOLOGY 676 Albert Ayler Quartet European Radio Studio Recordings 1964 Matthew Shipp 11 Nerve Signals 3:33 hatOLOGY 678 Symbol Systems ISRC CH 131.1901574 Something To Live For 12 Algebraic Boogie 2:16 hatOLOGY 711 piano Matthew Shipp ISRC CH 131.1901575 Matthew Shipp 13 The Inventor, part 1 4:16 Invisible Touch At Taktlos Zürich 1 Clocks 7:05 ISRC CH 131.1901576 hatOLOGY 743 ISRC CH 131.1901564 14 The Inventor, part 2 3:07 2 Harmonic Oscillator 3:50 ISRC CH 131.1901577 ISRC CH 131.1901565 3 Temperate Zone 1:56 Total Time DDD 60:55 ISRC CH 131.1901566 All titles composed by Matthew Shipp, 4 Symbol Systems 4:49 Tuhtah Publishing SUISA. ISRC CH 131.1901567 5 The Highway 6:09 Recorded by Chris Flam at Baby Monster Studios on ISRC CH 131.1901568 November 22, 1995, Produced by Alan Schneider, Originally released on No More Records. 6 Self-Regulated Motion 3:19 2017 acquired by Hat Hut Records Ltd. CD-master ISRC CH 131.1901569 November 29, 2017 by Peter Pfister. Cover photo by 7 Frame 5:11 Hans Hagen Stockhausen. Liner notes by Art Lange. ISRC CH 131.1901570 Graphic concept by fuhrer vienna. Executive production ൿ + Ꭿ 2018 8 Flow Of Meaning 7:13 by Bernhard “Benne” Vischer, Christian C. Dalucas & HAT HUT Records Ltd. Werner X. Uehlinger. Box 81, 4020 Basel, ISRC CH 131.1901571 Switzerland. All rights 9 Dance Of The Blue Atoms 3:25 2018, 1st edition reserved. Unauthorized ISRC CH 131.1901572 Printed by Gantenbein AG, CH 4127 Birsfelden duplication is a violation of 10 Bop Abyss 4:36 www.hathut.com appli cable laws. ISRC CH 131.1901573 File under: /Free Improvisation Made in Switzerland. hatOLOGY 749 Matthew Shipp · Symbol Systems