The long-standing partnership of saxophonist Ivo Perelman and pianist Matthew Shipp take color, with each track taking the name of a hue, mixing shades through free improvisation of subtle grace in a masterful dialog that only two such complementary players can present.
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Catalog ID: LEO 744
Squidco Product Code: 21398
Country: Great Britain
Packaging: Jewel Case
Recorded at Parkwest studios, Brooklyn New York, April 2015, by Jim Clouse.
Ivo Perelman-tenor saxophone
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1. Violet 5:03
2. Yellow 5:09
3. Violet And Yellow 4:48
4. Blue 3:51
5. Red 4:15
6. Blue And Red 5:58
7. Green 4:55
8. Magenta 3:28
9. Green And Magenta 2:44
10. White 5:59
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sample the album:
"When a new batch of Ivo Perelman discs are released, yes he releases music from multiple groups on multiple discs, it is always wise to start with his duets with pianist Matthew Shipp. They've collaborated now for over twenty years, in duo, trio, quartet, and quintet settings. Their development of sound, each player's individual sound, has paralleled each other. Both players early works were distinguished by a torrid, blistering sound. One that struck a listener as if they intended to deliver the sum total of their musical thoughts into every session, maybe into every song.
Decades later, the pair dispatch music with a gained maturity that is ultimately more expressive. Complementary Colors follows their two-disc Callas (Leo, 2015) and The Art Of The Duet Volume One (Leo, 2013). Its theme of colors that complement, might just as well be musicians that complete each other's sentences.
The ten improvisations, to which Perelman conjured a title post-production, play off of colors first separate "Violet," "Yellow," then together "Violet And Yellow." The concept here employs the saxophonist's synesthesia, or his ability to hear colors. Maybe better explained, the saxophonist is also an accomplished painter, and he has the ability to create a visual work beyond just his sense of sight.
The pieces here, all instantly composed, travel sans set chords and tempos. The sound fits though, into a logic much like an impromptu conversation between old friends. Shipp's approach maintains an elegance that strives for grace. His fingers opt for a simple refinement of movement that complements the tenor of Perelman. Each piece nudges toward a free expression, but also nourishes a structure. The saxophonist is content to chase lovely miniature thoughts and carefully situate them alongside Shipp's notes. Just as he must lay down paint on canvas."-Mark Corroto
"Ivo Perelman is a painter. On this disc, each track takes the name of a colour. Like some other great artists, such as Miles Davis, Joni Mitchell, Herb Alpert, Rosco Mitchell and Tony Bennett, Ivo hears his drawings and sees his music. According to Ivo, one plus one equals more than two. Red plus blue equals more than purple. Hearing and seeing give you an infinite spectrum of colours and sounds. Neil Tesser: "In this music, the colours wash and swing and swirl and vibrate, reaching a splendid resonance throughout the audiovisual spectrum."-Leo
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 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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