The instrumentation was trumpet, electric bass, and drums. There was no missing the lack of a harmony instrument, however Shulman's frequent use of electronic and acoustic looping made up for any harmonic void. His musical language didn't require a “comping” instrument. Bassist Matt Clohesy also employed frequent double stops and chords to add some harmony. This trio sound also opened more space, which was ably filled by the drummer, Jason Wildman.

The program opened with two original compositions: Forgetting/Remembering Yourself and Almost There. Both of these works were by Shulman,. He used his ShulmanSystem device, which supports the instrument on the body. To this, he attached a microphone. Shulman frequently set up a vamp on his trumpet, which we would then electronically layer to create harmony. He then would solo over that vamp. While he used electronics generously throughout, his full resonant trumpet tone was also very evident. While admitting to a cold, which might have altered his voice, this author heard an influence from the phrasing and sound of Sting in his singing.

The highlight of the performance was Shulman's version of Louis Armstrong's West End Blues. The faithful performance of the opening cadenza was given a modern accompaniment by the bass player and drummer. He continued to pay homage to the original recording, while displaying many newer techniques, such as electric and acoustic multiphonics, Carnival of Venice allusions, bop like passages, and inside/outside side-slipping which was remarkably cohesive. It is obvious that he has thoroughly absorbed the original Louis Armstrong recording and added his unmistakable stamp to it.

Then, as Shulman put it, we were headed back to the “original, trippy” music with his composition, Coexistence. At one point, he emitted a barrage of sound that blended perfectly and offered the same drumming kind of effect. The drummer picked up on this and added to it. He looped his acknowledgement of applause, “Thank you very much” which was followed by a bass solo and led to the haunting closer, What a Wonderful World.

Shulman's commitment to the jazz tradition and command of the jazz vocabulary was evident. To this he added “Dave Douglas-like” technique, facility, and innovative electronic effects. The communication among the trio was also at a high level. All of this served the music effectively. This is a name to remember and follow in the future.

The performance of the Matt Shulman Trio was a real highlight of the first full day of the conference. An intimate, but appreciative audience heard a fresh new voice on the trumpet that is about the musical statement.