The Squid's Ear Magazine


Perelman, Ivo / Mat Maneri / Nate Wooley / Matthew Shipp: Strings 4 (Leo Records)

Expanding on the trio setting of NY tenor saxophonist Ivo Perelman's "Strings 3" album, the 4th of the planned 7 CDs adds pianist Matthew Shipp to create a quartet that, while somewhat conventional on the surface, in practice emphasizes a string-like approach in both the woodwind and brass components, Shipp's perspective adding a unique dimension to the collective improvisation.
 

Price: $15.95


Quantity:

Out of Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 4.00 units

Sample The Album:





product information:

Personnel:



Ivo Perelman-tenor saxophone

Nate Wooley-trumpet

Mat Maneri-viola

Matthew Shipp-piano


Click an artist name above to see in-stock items for that artist.




UPC: 5024792086023

Label: Leo Records
Catalog ID: LEOR860.2
Squidco Product Code: 27339

Format: CD
Condition: New
Released: 2019
Country: UK
Packaging: Jewel Case
Recorded at Parkwest Studios, in Brooklyn, New York, in July, 2018, by Jim Clouse.

Descriptions, Reviews, &c.

"The relationship between strings and woodwinds firmly established, the question Ivo asks himself is what happens if a brass instrument comes in. Ivo says: 'When I have the question like that, the only way to answer is to book a studio time and go for it."-Leo



"On Strings 4 Ivo Perelman teams up with his long-time collaborators Matthew Shipp on piano and Mat Maneri on viola, with Nate Wooley on trumpet to produce something quite beautiful in terms of the imaginative musical pictures which Perelman creates, managing to transpose pictures and imagery in his mind to music.

Track 1 opens gently with piano playing light melody over the trumpet elongated noted and sax riffs before the piano notes turn into chords and the sharpness of the trumpet offers contrast and texture. The sax and roughly hewn viola notes add to the layers of deeply engrained knots to the music rather like a piece of careful worked oakwood. Track 2 is more discursive with sax and viola opening, piano and viola then echoing each other briefly before the trumpet also adds its voice. All instruments then interface, with some quite entrancing piano string work adding to the mix. Track 3 is structured and timed initially before the structure and times are contracted, expanded and even the key is within a micro-millimetre of losing its way - gorgeous. The final section is absolutely worth waiting for. Track 4 is where Nate Wooley proves the worth of a trumpet in this musical melding of minds. Perfectly placed, rapid-fingered timing and wonderfully worked note runs make this interesting and a track of fun. Track 5 is a lesson in improvised interactions but track 6 is standout with its play on melodic lines, interspersed with harmonics which only just work, yet that very precariousness makes it sharp on the ears but also an absolute joy to hear, especially when Perelman takes aim at a note and eventually reaches it by ascending or descending through the key in a warp of arcing sound, reaching his intended note eventually. At times his sound is almost akin to double tonguing, so voice-like does he make his sax. Tracks 7 and 8 are fun, furious and at times mind-blowingly fast.. immediately contrasted with a slow elongation of sound and the final track is that mix of Shipp's intricate delicacy over Perelman's wondering melodic chants before Shipp himself produces chordal progressions which the other follow, piano leading sax, leading viola. The final section with piano providing a bass reference over which the others float before everyone gently soars is simple beauty incarnate.

There is a sense of wonder whenever Perelman instigates and also a sense of what next? Here he has the orchestral opportunities in the percussion of the piano, strings of the viola, brass of the trumpet and wood of the sax yet it is so absolutely improvisational music it shows just what might be done with a massive ensemble. But wait, not yet. For now we enjoy Perelman bringing it together, inspiring the experimenting, keeping pushing and using his alter ego which his sax is to create soundscapes which have nothing to do with solo players or larger orchestration - they are simply Perelman and company."-Sammy Stein, The Free Jazz Collective


Get additional information at The Free Jazz Collective

Artist Biographies

"Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments - including cello, clarinet, and trombone - before gravitating to the tenor saxophone. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. But although these artists' romantic bent still shapes Perelman's voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark.

Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane (all of whom would later be cited as precedents for Perelman's own work). He left Berklee after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: "I would go berserk, just playing my own thing," he has stated.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day. His discography comprises more than 50 recordings, with a dozen of them appearing since 2010, when he entered a remarkable period of artistic growth - and "intense creative frenzy," in his words. Many of these trace his rewarding long-term relationships with such other new-jazz visionaries as pianist Matthew Shipp, bassists William Parker, guitarist Joe Morris, and drummer Gerald Cleaver.

Critics have lauded Perelman's no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax" (Ed Hazell in the Boston Globe); "tremendously lyrical" (Gary Giddins); and "a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken" (The Wire). Since 2011, he has undertaken an immersive study in the natural trumpet, an instrument popular in the 17th century, before the invention of the valve system used in modern brass instruments; his goal is to achieve even greater control of the tenor saxophone's altissimo range (of which he is already the world's most accomplished practitioner).

Perelman is also a prolific and noted visual artist, whose paintings and sketches have been displayed in numerous exhibitions while earning a place in collections around the world."

-Ivo Perelman Website (http://www.ivoperelman.com/bio/)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.

Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.

Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".

In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.

Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."

-Nate Wooley Website (http://natewooley.com/about)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Mat Maneri was born in 1969, and started studying violin at age five. He studied privately with Julliard String Quartet founder Robert Koff, and with bass virutuoso Miroslav Vitous. Mat received a full scholarship as the principal violinist at Walnut Hill High School, but left school to pursue a professional career in music. By 1990, Mat founded the critically acclaimed Joe Maneri Quartet with Randy Peterson. Mat started releasing records as a leader in 1996, and has developed four working ensembles. Pianists Paul Bley, Cecil Taylor, Matthew Shipp, and Borah Bergman have called upon Matt to perform with them in such venues as the Montreal Jazz Festival, the Library of Congress, and concert stages across Europe. Mat also enjoys a strong relationship with bassists Ed Schuller, Mark Dresser, William Parker, Michael Formanek, Barre Phillips, and John Lockwood. Never to be boxed in, Mat has also worked with Joe Morris, John Medeski, Tim Berne, Cecil McBee, T.K. Ramakrishnan, Franz Kogelman, Roy Campbell, Spring Heel Jack, Draze Hoops, and appears on an Illy B Eats remix CD. Mat presently teaches privately and through the New School / NYC, and performs and records worldwide."

-Aum Fidelity (http://www.aumfidelity.com/maneri.html)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Matthew Shipp was born December 7, 1960 in Wilmington, Delaware. He started piano at 5 years old with the regular piano lessons most kids have experienced. He fell in love with jazz at 12 years old. After moving to New York in 1984 he quickly became one of the leading lights in the New York jazz scene. He was a sideman in the David S. Ware quartet and also for Roscoe Mitchell's Note Factory before making the decision to concentrate on his own music.

Mr Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all of his own- and he's one of the few in jazz that can say so. Mr. Shipp has recorded a lot of albums with many labels but his 2 most enduring relationships have been with two labels. In the 1990s he recorded a number of chamber jazz cds with Hatology, a group of cds that charted a new course for jazz that, to this day, the jazz world has not realized. In the 2000s Mr Shipp has been curator and director of the label Thirsty Ear's "Blue Series" and has also recorded for them. In this collection of recordings he has generated a whole body of work that is visionary, far reaching and many faceted."

-Matthew Shipp Website (http://www.matthewshipp.com/bio.html)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Pt. 1 4:48

2. Pt. 2 2:01

3. Pt. 3 6:09

4. Pt. 4 7:14

5. Pt. 5 9:06

6. Pt. 6 6:15

7. Pt. 7 4:24

8. Pt. 8 7:38

9. Pt. 9 8:58

Related Categories of Interest:


Leo Records
Improvised Music
Jazz
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Quartet Recordings
Stringed Instruments
Collective Free Improvsation
Nate Wooley

Search for other titles on the label:
Leo Records.


Recommended & Related Releases:
Other Recommended Releases:
Levin, Daniel Quartet (Levin / Maneri / Moran / Zetterberg)
Live at Firehouse 12
(Clean Feed)
Cellist Daniel Levin's sophisticated jazz quartet with Mat Maneri (viola), Matt Moran (vibes), and Torbjorn Zetterberg (double bass) are captured live at Connecticut's Firehouse 12 for a superb album of modern improv with great skill, depth and style.
Levin, Daniel / Mat Maneri
Transcendent Function
(Clean Feed)
Two string masters--Mat Maneri on viola and Daniel Levin on cello--recording at The Village in Copenhagen, Denmark in an album titled for psychologist and philosopher Carl Jung, reflecting the balance between intuitive spontaneity and pre-established conditions.
Morris, Joe Quartet
Balance
(Clean Feed)
Joe Morris reunites his NY quartet as their last configuration from 2000, with violist Mat Maneri, bassist Chris Lightcap, drummer Gerald Cleaver, and Morris on guitar, bringing us an update on the intently informed collective improvisation that defines this great- band.
Gregorio, Guillermo Trio
Red Cube(d)
(Hatology)



Customers Who Bought This Item Also Bought:
Taylor, Cecil / Sunny Murray
Corona
(Corbett vs. Dempsey)
Beginning with an 8-member vocal incantation led by Taylor himself, this incredible reunion concert between pianist Cecil Taylor and drummer Sunny Murray was recorded by the FMP label in 1996 at the Total Music Meeting in Podewil, Berlin, an incredible display of pyrotechnical playing with an exultant excitement through three "sector" improvisations; extraordinary!
Kazuhisa, Uchihashi / Yoshida Tatsuya
Improvisations 5 [2 CDs]
(Magaibutsu)
21 wild rides from the fully improvised duo of guitarist Kazuhisa Uchihashi on guitar & effects, and Tatsuya Yoshida on drums, voice & sampler, two CDs from four separate concerts at Japanese venues Akihabara Goodman in 2012 & 2014, Kichijoji FOXHOLE in 2014, and Okubo Hikarino-Uma in 2017; intensely exciting and magnificently masterful improv instrumental rock.
Carter, Daniel / Patrick Holmes / Matthew Putman / Hilliard Greene / Federico Ughi
Telepathic Mysteries Vol. 1
(577 Records)
Referring to an improvisational style only possible after many years of collaboration, which they refer to as a "ghostly, boundary-pushing music between friends", this is the 4th sublime album from the quintet of Daniel Carter on reeds & trumpet, Patrick Holmes on clarinet, Matthew Putman on piano & keys, Hilliard Greene on bass, and Federico Ughi on drums.
Seabrook, Brandon (w/ Cooper-Moore / Gerald Cleaver)
Exultations
(Astral Spirits)
The title aptly describes the intense excitement and exhilaration of NY guitarist Brandon Seabrook's second trio album on Astral Spirits, performed with rhythm giants Cooper-Moore on Diddley Bow (a single-string bass) and free jazz drum legend Gerald Cleaver, the two creating a percolating interactive foundation for Seabrooks powerfully expressive and investigative playing.
Satoh, Masahiko / Otomo Yoshihide / Roger Turner
Sea
(Relative Pitch)
After their Doubtmusic CD "Live at Hall Egg Farm", capturing the trio of Masahiko Satoh on piano, Otomo Yoshihide on electric guitar & whistle, and Roger Turner on drums & percussion in Fukaya City, this new chapter in the trio's activities finds them live at Shinjuku Pit Inn, in Tokyo the following year, for two energetically active and captivating conversations.
Dunmall / Pursglove / Tromans / Kane / Drake
Soultime
(FMR)
The 2nd concert at Eastside Jazz Club for the quintet of Paul dunmall on saxophone & penny whistle, Percy Pursglove on trumpet, Steve Tromans on piano, Dave Kane on bass, and Hamid Drake on drums, in a powerfully passionate and profoundly masterful set of lyrical free jazz, the perfect example of Dunmall's skill at assembling inspired jazz bands; highly recommended!
Dunmall / Gibbs / Taylor / John Long
Landscapes
(FMR)
The counterpart to the Dunmall session "Seascapes" recorded at the same Victoria Rooms at the University of Bristol's music department, this quartet sees Dunmall on soprano sax and flute joined by three string players--Benedict Taylor on viola, Ashley John Long on bass, and guitarist Phil Gibbs--for six detailed collective improvisations leaning toward chamber jazz.
Circuit (Seagroat / Chatzigiannis / Taylor / Hutchinson / Medley / Wachsmann)
Cell
(FMR)
UK percussionist and electronic artist Trevor Taylor's Circuit project in an extended electroacoustic version with Jon Seagroat on reeds & electronics, Tim Chatzigiannis on computer & electronics, Mathew Hutchinson on piano, Paul Medley on reeds, and Philipp Wachsmann on violin & electronics, in carefully controlled and sublimely detailed improvisation.
Pukwana, Dudu / Misha Mengelberg / Han Bennink
Yi Yole
(Corbett vs. Dempsey)
Recorded at the ICP Jubileum festival in Uithoorn, Holland, in 1978, this concert brings together the core of the Instant Composers Pool--pianist Misha Mengelberg and drummer Han Bennink--with legendary South African alto saxophonist Dudu Pukwana (Blue Notes), Bennink also playing trombone, clarinet, and viola, in a lyrical and unpredictable set filled with humor and astounding playing.
Killing Spree (Metzger / Daniel / Galichet)
Boko Boko Tour
(Ayler)
A heavy album merging free improvisation, blues and rock forms from the French Killing Spree trio of Matthieu Metzger on alto saxophone & electronics, Sylvain Daniel on electric bass & effects, and Gregoire Galichet on drums, living up to the band name in dark malice captured live at Club Soto in Kyoto, Japan during their 2018 Japanese tour; vengeful.
Dunmall / Siegel / Pursglove / Sanders
As One Does
(FMR)
Two saxophones take the front line in Paul Dunmall's 2018 studio album, the leader on tenor saxophone with fellow tenor player Julian Siegel, also on bass clarinet, while Mark Sanders drums and Percy Pursglove handles bass and also trumpet, as the band falls into a hard bop mode, weaving lines together over wonderfully turbulent and soulful grooves; outstanding.
Amu (Fujii / Tamura / Itani / Wildenhahn)
Weave [CD & DVD]
(Libra)
Mizuki Wildenhahn adds an unusual percussive instrument through dance to the multi-arts Amu quartet of Wildenhahn, trumpeter Natsuki Tamura, pianist Satoko Fujii, and percussionist Takashi Itani, heard on the CD and seen on the DVD of this 2-disc set of their unorthodox and absorbing live performance at Kanagawa Prefectural Lake Sagami-ko Exchange Center in 2018.
Various Artists
Asian Meeting Recordings #1
(Doubtmusic)
Otomo Yoshihide started The Asian Meeting Festival in 2005 to foster creative interaction between Japanese and other Asian musicians, since 2014 curated by DJ Sniff, and here in the 2017 edition at GOK Sound, in Tokyo, Japan with a who's-who of players including Yoshihide, Ryoko Ono, Ko Ishikawa, Son X, KEITO, Yuji Ishihara, Yuen Chee Wai, &c. &c.
Lavelle, Matt
Cuica In The Third House
(KMB Jazz)
The 2007 solo debut of New York free improvising trumpeter Matt Lavelle, here performing on the hybrid instruments, the Bass-Trumpinet and Bass-Clarumpet, introduced and punctuated with spoken word insight and declarations, and using overdubs on selected tracks, making for an intimate and accomplished album of modern free jazz.
Feldman, Morton
Piano, Violin, Viola, Cello
(Another Timbre)
Morton Feldman's final composition, originally premiered in 1987, here performed by pianist Mark Knoop, violinist Aisha Orazbayeva, violist Bridget Carey, and cellist Anton Lukoszevieze, recording a year after their successful performance at London's Cafe Oto, maintaining focus and concentration on this large, unhurried work of micro-variations.
Dunmall, Paul / Philip Gibbs / Ashley John Young
Now Has No Dimension
(FMR)
Live recordings from the trio of Paul Dunmall on soprano and tenor sax, Philip Gibbs on guitar, and Ashley John Young on double bass, performing at Cardiff University School of Music Concert Hall in 2016, a great example of concentrative, complex and lively interplay.
Tamura, Natsuki
Dragon Nat
(Libra)
Using Gato Libre's music as the direction for his first solo album since 2004, trumpeter Natsuki Tamura releases an album of powerful and personal playing with a surreal flow of ideas, impish humor, and restrained joy.
Brady, Tim / Bradyworks
24 Frames - Scatter [2 CDs]
(Ambiances Magnetiques)
Montreal creative guitarist Tim Brady and his Bradyworks (Lori Freedman, Karen Young, &c) performing 6 duos for electric guitar with other instruments, and 12 compositions for electric guitar (with and without effects pedals).
Genetti / Smith / Lonberg-Holm
Sense of Hearing
(Balance Point Acoustics)
8 duos recorded in the studio between bassist Damon Smith and free vocalist Carol Genetti, and 4 trio tracks adding Fred Lonberg-Holm on violoncello and performing live at Chicago's Empty Bottle.
First Meeting (Tamura / Fujii / Churko / Yamamoto)
Cut The Rope
(Libra)
Trumpeter Tamura in an album of improvisational fragmentation, textural and timbral explorations, and rapid-fire juxtapositions that create kaleidoscopic sound collages.
Tamura, Natsuki / Satoko Fujii
How Many?
(Libra)



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC