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Label: Clean Feed
Catalog ID: CF 024
Squidco Product Code: 4438
Ivo Perelman-tenor saxophone
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1. Black on white
2. Naked seeds
9. Sementes nuas
NY Downtown & Jazz/Improv
Squidco's Clean Feed $12.00 Sale
descriptions, reviews, &c.
"[Black on White is] the new offering from Brazil-born tenor player Ivo Perelman, a firebrand who has made his home in Brooklyn since the early 90s ... Perelman’s music is firmly rooted in multiphonics-drenched late 60s tenor playing, equal parts Coltrane, Ayler, Sanders and Barbieri. He's a powerful and creative player within that sphere of influence, but a consummate improviser he is not – one gets the feeling from listening to his solos that his study has been limited to ESP and Impulse avant-garde sessions (on “Naked Seeds,” he inserts a quote from one of Barbieri’s “Togetherness” solos, but rather than leaving it as a sly reference, he milks it dry). Get beyond the unoriginality of Perelman’s playing though and the pieces can be a gas – “Cores” is particularly storming, with Perelman's blinding Ayleresque squeaks and blasts at full tempo as bassist Dominic Duval and drummer Jackson Krall create a dense kinetic push underneath."-Dan Warburton, Paris TransAtlantic Magazine
• Show Bio for Ivo Perelman
"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/)
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