Bishop/Cleaver/Flood

A consistently intriguing creative jazz musician using a fertile imagination, deep polystylistic knowledge, and impressive techie chops, Ann Arbor, Michigan-based multi-reedist and educator Andrew Bishop reaches house on-stage, in the documenting studio room, or in the class. The current College or university of Michigan associate teacher of jazz and modern improvisation was a grad pupil on the U-M back the ’90s when he crossed pathways with two various other music artists, Detroit-born drummer Gerald Cleaver and bassist Tim Overflow, with whom he shaped his longest-standing ensemble, Bishop/Cleaver/Overflow, in 1996. The trio debuted within Ann Arbor place Kerrytown Concert House’s Jazz on the Advantage series, and different other live schedules would follow, but almost a decade would elapse between Bishop/Cleaver/Flood’s inception and the look of them on Bishop’s debut record, Period & Imaginary Period, released in 2005 in the Envoi label. Showcasing the reedman’s abilities on soprano and tenor saxophones and clarinet using the deeply empathetic participation of Cleaver and Overflow, the Bishop-penned music promptly & Imaginary Period melded free of charge jazz expressiveness using a suite-like contemporary compositional type. Although Cleaver departed Michigan for Brooklyn and taken care of a busy plan among the most in-demand percussionists in innovative improvised music, Bishop continuing his collaborative romantic relationship using the drummer, showing up on a set of Cleaver albums, Adapt (2001) and Gerald Cleaver’s Detroit (2008), both released by the new Audio New Talent label. Furthermore, Bishop performed soprano sax, alto flute, and bass clarinet on Mag Mell (2012), an avant jazz-meets-electronica documenting with the Tim Overflow Quartet, led by bassist Overflow and also offering Cleaver along with pianist Jacob Sacks. Approximately 3 years after Mag Mell and ten years after the discharge of your time & Imaginary Period, the second documenting with the Bishop/Cleaver/Overflow trio — and Bishop’s third record overall being a head — came on Envoi in March 2015. With Bishop highlighted on flute, clarinet, bass clarinet, and soprano and tenor saxophones, De Profundis interspersed the reedman’s intimately personal compositions with mixed reimaginings of the passage from Josquin Des Prez, a 15th and 16th hundred years Renaissance composer mentioned for contrapuntal and polyphonic functions which have deeply affected music for this day.