Whit Dickey / William Parker / Matthew Shipp: Village Mothership

Village Mothership presents a constellation of stars which first assembled some three decades ago. Although released on drummer Whit Dickey's Tao Forms imprint, on this 2020 studio date the trio, completed by bassist William Parker and pianist Matthew Shipp, manifests as a cooperative effort, unlike their first appearance on Circular Temple (Quinton, 1990) under Shipp's leadership. As well as being the pianist's trio of choice for several years, the threesome was also 75% of esteemed saxophonist David S. Ware's classic quartet from 1992 to 1996.

While they've all rarely occupied the bandstand on the same occasion since, the connections have endured. Indeed Shipp and Parker renewed acquaintance on Reunion (Rogue Art, 2021) and have popped up in other recent combinations, including under the leadership of drummer Francisco Mela on Music Frees Our Souls Volume 1 (577 Records, 2021). But this session makes a persuasive argument that it's the longstanding relationships which can really bring out the best in someone. Above all there's a transparency to Dickey's playing where he seems to have pared back his multidirectional style to the bare bones, meaning he leaves lots of space in which his colleagues can thrive. And that's just what they do.

Shipp takes full advantage, supplementing his customary blend of nagging Morse-coded hammerings, glinting Bach-like variations and sudden descents into the bottom register with dancing rhythms to an even greater extent than normal. In this he's abetted by Parker who remains a force of nature, cycling through repeated figures which leverage momentum, while slipping into pithy commentary between times.

The opening "A Thing & Nothing" provides a wide ranging affirmation of their potency with an ear catching tumble of fragmented phrases and silence, then later an astonishing passage when Parker's resonant throb and Dickey's metallic rimshots synchronize with Shipp's insistent plinking treble. It is all the more powerful because on the other five cuts they avoid coming together in such fashion, with Dickey in particular as adept at shunning the obvious as he is at not closing down options. As a result the default is pursuit of parallel courses in a hyper responsive aesthetic, a constantly updated triangulation which creates depth, complexity, tension and most importantly consistently engaging music.

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