Invigorating set last night from the Matthew Shipp Trio at Nighttown. Playing in a dimly lit room (as the musicians desired, I’m suspecting, with Shipp himself nearly lost in the shadows and the three musicians rarely bothering to open their eyes) to about 20 to 25 people (come on, Cleveland!) the group clamored nonstop for 90 minutes, featuring tunes from last year’s Elastic Aspects thread organically into a continuous musical string. Shipp, his swiveling torso tossing hands onto the keys to rake out feverish sounds—tough, twirling melodies to crashing, dissonant bomb blasts, seemed wholly one with the music throughout. His chin remained bowed to chest during much of his playing, and when bassist Michael Bisio and drummer Whit Dickey each took an extended solo (Bisio’s stretching 10-15 wild, forceful minutes, with bowed passages bookending a plucked core) Shipp draped himself over the piano, head buried between outstretched arms, as if needing to recuperate or, simply, to maintain an unhindered focus on the music. Similarly, Dickey cradled his forehead in left hand through much of Bisio’s solo, signaling that there might be something painful in producing this music—a serious commitment that expended both physical and mental faculties. For the listener, however (or, at least, for this listener), the sounds were energizing, restorative in being dug from the stuff of life and tossed out, with precision, yes, but with no cotton padding to soften the blow—joy, sorrow, violence, dance unfiltered.