The long–running duo of NY pianist Matthew Shipp and Brazilian/NY saxophonist Ivo Perelman forms the basis for this excellent quartet, with mainstays Michael Bisio on bass and Whit Dickey on drums, in an expressive and soulful album that balances enthusiasm and brilliant restraint.
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Catalog ID: LEO 739
Squidco Product Code: 22161
Country: Great Britain
Packaging: Jewel Case
Recorded at Parkwest studios, in Brooklyn, New York, in July 2015, by Jim Clouse.
Ivo Perelman-tenror saxophone
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1. Metaphysical 5:48
2. Crossing 8:03
3. Eyound 7:03
4. Fragments 5:00
5. Belvedere 4:34
6. Landscape 5:03
7. Soul 8:06
8. Joy 5:52
9. The Unknown 6:46
NY Downtown & Jazz/Improv
New in Improvised Music
sample the album:
"Many paths led to this album. It can be seen as the duo of Ivo Perelman (tenor saxophone) and Matthew Shipp (piano), who recorded the majestic Corpo a week before, plus the rhythm section of Michael Bisio (double bass) and Whit Dickey (drums); or the most recent Shipp trio with Bisio and Dickey, responsible for four outstanding releases, plus Perelman; the trio of Perelman, Shipp and Bisio, who've made one recording, plus Dickey, as has the trio of Perelman, Shipp and Dickey, plus Bisio; or the trio of Perelman, Bisio and Dickey, which have performed but not recorded, plus Shipp; or the combined duos of Perelman and Dickey, and Shipp and Bisio, both of which have released albums. There's also the two previous outings by this quartet: The Edge (Leo Records, 2013) and The Other Edge (Leo Records, 2014).
Such a multiplicity of relations is reflected in the album as a whole - ceaseless activity but never crowded; four musicians entirely at ease with each other and comfortable with their own space and fit, sensitive to even slight changes in energy, mood and focus. There's a relaxed feel to the date and an assurance which allows thinking in paragraphs rather than sentences, each piece a self-contained drama, from the cinematic scope of the opening 'Metaphysical' to Shipp's intimate prelude which opens the title track and Perelman's gorgeous lyric line later in the same piece, full of subtle inflections. There's much to enjoy: the duo of bass and sax which opens 'Joy', later joined by piano and drums, the shifting balances of 'Eyound' and the pounding dance in 'Crossing' which resurfaces throughout the piece, a thought that can't be shaken off.
A word about the recording. Like all the releases reviewed this week and many of Perelman's recent albums, Soul was recorded at Park West Studios, Brooklyn, engineered by Jim Clouse. The acoustic is intimate, revealing the full range of instrumental textures: the sparkle and luscious resonance of Shipp's fine piano, the delicate hues of Perelman's tenor, Bisio's weighty registers and the clatter of Dickey's drums and soft decay of his cymbals. Such sound aids appreciation of the organic flow of a piece like 'Fragments' (a popular title among improvisers) in which an assemblage of darting phrases gradually coalesce and from which Perelman's intensely expressive saxophone emerges.
What about the album title? Perelman's recording prior to this was Corpo (Body) - do the albums form a complimentary pair, a rendition in music of Cartesian Dualism perhaps, or joined together, an allusion to the great jazz standard famously recorded by Coleman Hawkins? Probably not: as noted by Neil Tesser in his liner notes, each album has both body and soul, and the tune doesn't put in an appearance on either. Maybe the title, and album cover, simply reflect the deep-rooted community of purpose shared by these musicians and the fluid discourse and free flow of ideas this enables. I'd be happy with five albums of just this quartet - a reasonable enough request."-Colin Green, The Free Jazz Collective
Get additional information at Free Jazz Blog
• 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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• 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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