A single extended work in 6 parts from the trio of Ivo Perelman (sax), Matthew Shipp (piano) and William Parker (bass), emotional and masterful music from a trio that has developed their sound over years working together; superb!
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Catalog ID: LEO 697
Squidco Product Code: 19138
Country: Great Britain
Packaging: Jewel Case
Recorded at Systems Two, in Brooklyn New York, October 2013 by Mike Marciano.
Ivo Perelman-tenor saxophone
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1. Damnant Quod Non Intelligunt 7:23
2. Candor Dat Viribus Alas 4:52
3. De Gustibus Non Est Disputandum 8:30
4. Adsummum 9:36
5. Adde Parvum Parvo Magnus Acervus Erit 8:25
6. Veritas Vos Liberabit 13:38
Related Categories of Interest:
NY Downtown & Jazz/Improv
Melodic and Lyrical Jazz
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sample the album:
"The mighty tenor saxophonist Ivo Perelman leads a team of frequent collaborators and superior craftsmen, pianist Matthew Shipp and bassist William Parker. Drawing on past endeavors in various settings, the trio's remarkably intuitive powers are inherent throughout. With movements that are the cogs in the wheel of instantaneous forays in composition, they navigate through broad vistas amid customary mimicking and contrapuntal maneuvers.
Moreover, Perelman keenly incorporates bluesy interludes, heightened by his plaintive cries, and when he mirrors human voice characteristics as a storytelling mechanism. But the group's multifarious inventions transmit a sense of elasticity, often intertwined with firmly rooted structural components via micro-motifs that synthesize into a given piece.
The final and lengthiest track "Veritas Vos Liberabit," teems with intersecting motifs, concise phrasings and playful digressions. The artists' telepathic interplay is locked in tenth gear. Perelman even tosses in some husky barrelhouse phrasings, reminiscent of tenor sax pioneer Coleman Hawkins, although the primary impetus is securely latched in the avant-garde spectrum. At times, the trio revs the engine and cycles through numerous pulses. Shipp's rolling chord patterns and complementing mosaics add a wavering flow in spots. Yet Parker's somber arco-bass lines generate notions of lament as the band switches gears, featuring the bassist's duo breakout with Perelman. They slowly raise the intensity, where the saxophonist bores through these choruses with upper-register bravado, segueing to closeout. Hence, another milestone in Perelman's already extensive discography."-Glenn Astarita, All About Jazz
Get additional information at All About Jazz
• 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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• Show Bio for William Parker
"William Parker is a bassist, improviser, composer, writer, and educator from New York City, heralded by The Village Voice as, "the most consistently brilliant free jazz bassist of all time."
In addition to recording over 150 albums, he has published six books and taught and mentored hundreds of young musicians and artists.
Parker's current bands include the Little Huey Creative Music Orchestra, In Order to Survive, Raining on the Moon, Stan's Hat Flapping in the Wind, and the Cosmic Mountain Quartet with Hamid Drake, Kidd Jordan, and Cooper-Moore. Throughout his career he has performed with Cecil Taylor, Don Cherry, Milford Graves, and David S. Ware, among others."-William Parker Website (http://www.williamparker.net/)
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• Show Bio for Matthew Shipp
"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)
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