The Squid's Ear Magazine


Perelman, Ivo / Ray Anderson / Joe Morris / Reggie Nicholson: Molten Gold [2 CDs] (Listen! Foundation (Fundacja Sluchaj!))

Recording with legendary jazz musicians, trombonist Ray Anderson, drummer Reggie Nicholson and double bassist Joe Morris, tenor saxophonist Ivo Perelman's quartet album brings the depth of experience and Ivo Perelman's unstoppable creative drive to these four extended and masterful improvisations, impeccably captured at Brooklyn's ParkWest Studio by Jim Clouse.
 

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Personnel:



Ivo Perelman-tenor saxophone

Ray Anderson-trombone

Joe Morris-double bass

Reggie Nicholson-drums


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UPC: 5904441617313

Label: Listen! Foundation (Fundacja Sluchaj!)
Catalog ID: 03/2023
Squidco Product Code: 33014

Format: 2 CDs
Condition: New
Released: 2023
Country: Poland
Packaging: Cardboard Gatefold
Recorded at Parkwest Studios, in Brooklyn, New York, on October 16th, 2022, by Jim Clouse.

Descriptions, Reviews, &c.

"Ivo Perelman is prolific and works with some of the most illustrious musicians. Usually, in duo or trios, Perelman delivers sax lines like they were visual and physical entities - which, to Perelman, they are, as he has the unusual ability to see music in colour tones - not quite in the physical sense, but near enough - which is what gives his music quality. Like just one or two other players I can think of, Perelman almost creates visual art through his music.

Here on Molten Gold Perelman is with Joe Morris on bass, trombonist Ray Anderson and drummer Reggie Nicholson. A 2 CD set, with two tracks per CD, the four tracks each have their own character and are linked by the intuitions of the musicians and the stealth of Perelman to blend and merge between the sounds like a sleek leopard, constantly altering his tone and intonation to accommodate the players with whom he is interacting.

Perelman told me, "For this recording, I've been experimenting with different ligatures, reeds, and mouthpieces. On Molten Gold I used a setup that really plays well for me. I got a consistent tone throughout the register, great articulation, and a new "woody " tone that pleased me a great deal."

On Molten Gold, Perelman has achieved a sound that is different, and it is smoother in many places than on many recordings. Whether that is due to his honed setup or whether Perelman is simply intuitively reacting to the musicians he has teamed with matters not one iota. As on each recording, Perelman retains his distinctive style but his playing is tilted and influenced by the musicians he collaborates with.

The album has such a lot to hold the listener's attention - on 'Aqua Regia' the bass opening is followed with all the musicians tracking their own path, yet the key, tempos, and changes are so intricately linked to those around that the lines seem to flow in flux. The sax and bass arise out of the music in a delicate diversion before re-joining the main path where all four musicians remain connected.

'Liquid' opens with warping trombone muttering under the bass and drums before Perelman instigates some well-honed counter-intuitive notes and rhythms, forcing a change of rhythm. He almost purrs over the bass, which now comes forth with its own growling melodic section. 'Warming Up' has a grandiose opening with creative, drum rolls, with the bass subtly in the background before the sax and trombone flutter around each other, bouncing riffs and musical ideas off each other, Perelman flying crazily around the five-minute mark, Anderson reacting with a stream of riffs, re-taking the initiative and now Perelman follows. Drum and bass fall away at one point, leaving Perelman and Anderson in quirky conversation which drives toward the edge of cohesion once the bass and drums re-enter with Perelman seeking the edge of the altissimo range and damn near finding it.

This CD set proves, if that were necessary, that when you put four outstanding improvises together you are going to get improvised music that feels like it was created for them. There is no lead, and no followers but four listeners and musicians who are well-trained enough to lean into each other and know when to surge and when to back off a little. Perelman on occasion does what he does so well - and that is to provide the unifying melodic phrases that serve to link the musicians he is playing with.

Like a good wine that tastes good without you knowing why, it is the secret ingredients that create the overall taste and here, quality abounds. The ingredients of each musician, along with Perelman's particular flavours, create the perfect blend of character, colour, and taste.

Lines twirl, writhe, and entwine, at times like a nest of vipers in their hidden surprise and energy, at others like lovers, vying for each other's touch and notice. Emerging finally as a unified entity that has captured many nuances that create outstanding improvised music."-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/)
6/17/2024

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

"Ray Anderson has been continually noted as a contributor to the legacy of the slide trombone since his emergence in the 1970's, having won numerous Down Beat Critics Polls. He has shown remarkable musical range on the slide trombone and as a result reawakened interest in the instrument's expressive possibilities and sonic scope. He has led or co-led and composed for a daunting assortment of projects including tradition-minded ensembles, experimental groups, big bands, blues and funk projects and even a trombone quartet. He has performed and recorded with Anthony Braxton, David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, the George Gruntz Concert Jazz Band, Luther Allison, Bennie Wallace, Henry Threadgill, John Scofield, Roscoe Mitchell, the New York Composers Orchestra, Sam Rivers' Rivbea Orchestra and countless others. Anderson is a gifted teacher and has been the Director of Jazz Studies at Stony Brook University since 2003. Anderson has received grants from the National Endowment for the Arts, the Fund for U.S. Artists at International Festivals, the Oberon Foundation and Chamber Music America. In 2001 he became a John S. Guggenheim Fellow."

-Ray Anderson Website (http://www.rayanderson.com)
6/17/2024

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

"Joe Morris was born in New Haven, Connecticut on September 13, 1955. At the age of 12 he took lessons on the trumpet for one year. He started on guitar in 1969 at the age of 14. He played his first professional gig later that year. With the exception of a few lessons he is self-taught. The influence of Jimi Hendrix and other guitarists of that period led him to concentrate on learning to play the blues. Soon thereafter his sister gave him a copy of John Coltrane's OM, which inspired him to learn about Jazz and New Music. From age 15 to 17 he attended The Unschool, a student-run alternative high school near the campus of Yale University in downtown New Haven. Taking advantage of the open learning style of the school he spent most of his time day and night playing music with other students, listening to ethnic folk, blues, jazz, and classical music on record at the public library and attending the various concerts and recitals on the Yale campus. He worked to establish his own voice on guitar in a free jazz context from the age of 17. Drawing on the influence of Coltrane, Miles Davis, Cecil Taylor,Thelonius Monk, Ornette Coleman as well as the AACM, BAG, and the many European improvisers of the '70s. Later he would draw influence from traditional West African string music, Messian, Ives, Eric Dolphy, Jimmy Lyons, Steve McCall and Fred Hopkins. After high school he performed in rock bands, rehearsed in jazz bands and played totally improvised music with friends until 1975 when he moved to Boston.

Between 1975 and 1978 he was active on the Boston creative music scene as a soloist as well as in various groups from duos to large ensembles. He composed music for his first trio in 1977. In 1980 he traveled to Europe where he performed in Belgium and Holland. When he returned to Boston he helped to organize the Boston Improvisers Group (BIG) with other musicians. Over the next few years through various configurations BIG produced two festivals and many concerts. In 1981 he formed his own record company, Riti, and recorded his first LpWraparound with a trio featuring Sebastian Steinberg on bass and Laurence Cook on drums. Riti records released four more LPs and CDs before 1991. Also in 1981 he began what would be a six year collaboration with the multi-instrumentalist Lowell Davidson, performing with him in a trio and a duo. During the next few years in Boston he performed in groups which featured among others; Billy Bang, Andrew Cyrille, Peter Kowald, Joe McPhee, Malcolm Goldstein, Samm Bennett, Lawrence "Butch" Morris and Thurman Barker. Between 1987 and 1989 he lived in New York City where he performed at the Shuttle Theater, Club Chandelier, Visiones, Inroads, Greenwich House, etc. as well as performing with his trio at the first festival Tea and Comprovisation held at the Knitting Factory.

In 1989 he returned to Boston. Between 1989 and 1993 he performed and recorded with his electric trio Sweatshop and electric quartet Racket Club. In 1994 he became the first guitarist to lead his own session in the twenty year history of Black Saint/Soulnote Records with the trio recording Symbolic Gesture. Since 1994 he has recorded for the labels ECM, Hat Hut, Leo, Incus, Okka Disc, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity and OmniTone and Avant. He has toured throughout the U.S., Canada and Europe as a solo and as a leader of a trio and a quartet. Since 1993 he has recorded and/or performed with among others; Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Whit Dickey, Ken Vandermark, DKV Trio, Karen Borca, Eugene Chadborne, Susie Ibarra, Hession/Wilkinson/Fell, Roy Campbell Jr., John Butcher, Aaly Trio, Hamid Drake, Fully Celebrated Orchestra and others.

He began playing acoustic bass in 2000 and has since performed with cellist Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner.

He has lectured and conducted workshops trroughout the US and Europe. He is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department. He was nominated as Best Guitarist of the year 1998 and 2002 at the New York Jazz Awards."

-Joe Morris Website (http://www.joe-morris.com/biography.html)
6/17/2024

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

"Reggie Nicholson, drummer, percussionist and composer is a native of Chicago, Illinois. While performing with many musicians in Chicago, such as Jon Logan, Von Freeman, Vince Willis, Byther Smith, Fred Nelson III and Orbit Davis, Nicholson's reputation as an outstanding drummer was established. In 1979, Nicholson became a member of the Association for the Advancement of Creative Musicians (AACM). During this time, Nicholson developed a musical relationship with all the members of the AACM including Muhal Richard Abrams, Steve McCall, Edward Wilkerson, Jr., Henry Threadgill, Phil Cohran, Joseph Jarman, Mwata Bowden, Ernest Dawkins, Douglas Ewart, Rita Warford, Amina Claudine Myers and Anthony Braxton.

Since relocating to New York City in 1988, Nicholson has performed with a wide variety of Jazz and New Music luminaries such as Don Pullen, Jon Hendricks, Billy Bang, Butch Morris, Reuben Wilson, Melvin Sparks, Abdullah Ibrahim, Sonny Rollins, Hamiet Bluiett, Myra Melford , Wilber Morris and Roy Campbell. Nicholson has performed in many noted festivals throughout Europe, Asia and the United States including, Chicago, North Sea, Saalfelden, Verona, Knitting Factory- NYC, Red Sea, Tampere, Moers, Nancy, just to name a few.

The instantly recognizable style and sound of his drumming and his music has elevated Nicholson as one of the most distinctive, inventive and inspirational composer and percussionist of his generation."

-AACM-New York (http://aacm-newyork.com/reggienicholson.html)
6/17/2024

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


Track Listing:



CD1



1. Warming Up 20:00

2. Liquid 20:08

CD2



1. Aqua Regia 28:35

2. Gravity 20:49

Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Quartet Recordings
New in Improvised Music

Search for other titles on the label:
Listen! Foundation (Fundacja Sluchaj!).


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