A meeting in Brooklyn in 1996 of these two monsters of avant-jazz as saxophonist Perelman and pianist Bergman tackle these difficult and passionate pieces.
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Catalog ID: LEO 248
Squidco Product Code: 9196
Country: Great Britain
Packaging: Jewel Tray
Recorded and mixed by Mike Marciano at System Two, Brooklyn, NY, June 1996.
Ivo Perelman-tenor saxophone
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1. Geometry 11:02
2. Linear Passion 4:46
3. Parallelism 9:30
4. Cavaquinho, take 1 2:56
5. Cubic Rotation 11:23
6. Equal angles 4:22
7. Sonic conic 2:57
8. Subspaces 6:41
9. Cavaquinho, take 2 3:26
NY Downtown & Jazz/Improv
sample the album:
"Ivo Perelman has often recorded without a pianist, but on Geometry, Borah Bergman's piano is his only accompaniment. Having worked with Roscoe Mitchell, Bergman was no stranger to daring saxmen of the avant-garde -- and Perelman is certainly daring on abstract, difficult originals like "Equal Angles," "Linear Passion" and "Sonic Conic," as well as two versions of the Brazilian folk song "Cavaquinho." Like other pianists Perelman has played with (including Marilyn Crispell and Matthew Shipp), Bergman is a disciple of the seminal Cecil Taylor. But being a disciple isn't the same as being a clone, and Bergman's passionate improvisations prove that he's hardly without interesting ideas of his own. [...] Geometry is an enjoyable release that Perelman's more-devoted followers will want."-Alex Henderson
• 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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