Brazilian-born, New York tenor saxophonist Ivo Perelman in a duo with drummer Whit Dickey for an extraordinary album dedicated to and with pieces named for saxophonists Hank Mobley, Ben Webster, John Coltrane, Albert Ayler and Sonny Rollins.
Catalog ID: LEO 714
Squidco Product Code: 21076
Country: Great Britain
Packaging: Jewel Case
Recorded at Systems Two Studios, in Brooklyn New York, in March 2014 by Michael Marciano
Ivo Perelman-tenor saxophone
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1. For Mobley 7:50
2. For Webster 9:04
3. For Coltrane 5:30
4. Tenorhood 3:32
5. For Ayler 8:06
6. For Rollins 12:40
NY Downtown & Jazz/Improv
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sample the album:
"For this meditation session, we ask you not to think about the legends of the tenor saxophone. Just listen to the interplay between Ivo Perelman and drummer Whit Dickey. Press play, and ignore the track titles dedicated to Hank Mobley, Ben Webster, John Coltrane, Albert Ayler, and Sonny Rollins. Why? Because, the saxophonist did just that when he created Tenorhood, a totally improvised collection of pieces the pair recorded in 2014.
The Brazilian-born, New York resident has released music on a scale not seen since David Murray's campaigns of the 1990s, producing more than 20 albums in the last four years. Dickey has been a part of five of the sessions.
As with all his later work, this music is improvised. A switch is flipped and the magic happens. With Tenorhood, he created these titles after playback— Perelman hearing the gestures and fragments of his tenor saxophone heroes within his own creations.
The pleasure here is finding those gestures in this music. The easiest to recognize is "For Ayler," a sound Perelman has conjured from his earliest days. Listen again to Soccer Land (Ibeji, 1994) and Albert Ayler's spirit is ever present in the wail and yowl of the master. Then there's "For Coltrane," and certainly no modern player has escaped feeling the weight of John Coltrane's music in life. Perelman and Dickey exercise the music of Intersteller Space (Impulse!, 1967), Dickey is a dynamo here, but more importantly, he is as much an accompanist to Perelman as pianist Matthew Shipp. He can color his sound, support, or challenge the saxophonist. He is even given all of the title track to solo with mallets and cymbals. There is spirit here, and life. The beauty of Ben Webster and the swing of Hank Mobley, both laid out in only barely recognizable signals. The pair end with Sonny Rollins. Perelman works that upper altissimo register that both he and Rollins are famous four.
If you listen to Tenorhood with the openness of a meditator's mind, you are certain to hear all the spirits that inhabit the person that is Ivo Perelman."-Mark Corroto, 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 Whit Dickey
"Whit Dickey (born May 28, 1954, New York City) is a free jazz drummer. He has recorded albums as a bandleader, with David S. Ware, Matthew Shipp and others.
Free jazz drummer Whit Dickey first stepped into the spotlight as a leader with the release of his Transonic album from Aum Fidelity in 1998. Two years later, Wobbly Rail issued his Big Top release. Previously, he was best known for his solid work with Matthew Shipp and David S. Ware, with whom Dickey split in 1996. Early the following year, the drummer began composing the works that would be included on Transonic. Dickey penned all but two songs, "Kinesis" and "Second Skin," on the collection, and he even had a hand in those with the help of his fellow musicians on the album. The original compositions give a nod to the influence of "Criss Cross" and "Off Minor" from the legendary Thelonious Monk. Dickey recorded the album with the aid of Rob Brown on flute and alto saxophone, and Chris Lightcap on bass. In 2001, Dickey recorded half a dozen of his compositions with Mat Maneri, Shipp, and Brown under the name Nommonsemble, and put out Life Cycle through Aum Fidelity.
Whit Dickey made a name for himself as the former drummer of David S. Ware's famous quartet. Since then Dickey's musical contributions have gone well beyond his work as Ware's drummer. He is capable of tremendous power and yet has the ability for subtle gesture. Dickey is a composer as well as a drummer and his music has reached new heights in his recent small group work, with a coterie of great musicians including alto saxophonist Rob Brown. He has been performing with Matthew Shipp since 1991 and continues to play and record with Roy Campbell Jr., Mat Maneri, Chris Lightcap and many others. Since 2007 Dickey has been focussing on developing an integrative improvisational style while working with Shipp's Trio.
Daniel Carter and Dickey recorded an album pianist Eri Yamamoto in 2008.
The album Art of the Improvisor from The Matthew Shipp Trio received much critical acclaim and was listed as one of the year's best of 2011. Dickey has started a cooperative unit with Sabir Mateen & Michael Bisio, which is another example of post- Coltrane integral unity, and is call Blood Trio.
Shipp, Bisio and Dickey have also been working with Ivo Perelman in various configurations."-Wikipedia (https://en.wikipedia.org/wiki/Whit_Dickey)
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