After many years working together in the vital Downtown NY scene, saxophonist Ivo Perelman and Matthew Shipp take their playing the next step after their previous duo "Callas", in thoughtful improv that expresses in both their mutual language and masterful skills.
Catalog ID: LEO 755
Squidco Product Code: 22164
Country: Great Britain
Packaging: Jewel Case
Recorded at Parkwest Studios, Brooklyn, New York, in February, 2016, by Jim Clouse.
Ivo Perelman-tenro saxophone
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1. Part 1 3:56
2. Part 2 4:37
3. Part 3 5:37
4. Part 4 4:47
5. Part 5 4:23
6. Part 6 6:13
7. Part 7 2:27
8. Part 8 1:41
9. Part 9 3:40
10. Part 10 5:51
11. Part 11 4:44
12. Part 12 6:06
NY Downtown & Jazz/Improv
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sample the album:
"Last month [May 2016] Ivo Perelman does what has lately become an annual or semi-annual event for him: he released not one but a fistful of albums featuring new, totally improvised recordings. Choosing from a fairly small but intensely talented group of fellow music visionaries, the masterful tenor saxophonist's only real decision he usually makes in planning an album is which combination of these savants will he use to make music that don't exist in any form until the 'record' button is pushed. And then when he's done, he leaves Neil Tesser the thankless job of putting into words art way too abstract and arresting to adequately put into words.
Tesser actually does a commendable job in unraveling the mysteries behind the sequence of notes that only existed in that moment. To dissect this music you almost have to remove yourself from experiencing it at how Perelman's otherworldly sonorities is meant to be absorbed, which is at a gut level. Three of Ivo's fresh dishes are duets, and in a departure from the usual method of sizing up records one at a time, we're going to take on Corpo (with Matthew Shipp), Blue (with Joe Morris), The Hitchhiker (with Karl Berger) at once. Why?
Well, why not? One of the notable ways about Perelman is his adaptability to any given setting. Even within the sub-realm of one-on-ones, Perelman adjusts his line of attack to his lone counterpart. And most fascinating is how Perelman responds not just to the opposing instrument played but also the personality that comes through on that instrument. Taken all together, Corpo, Blue and The Hitchhiker provides a good demonstration of how Perelman draws contrasts in his duet collaborations while staying within his own character.
There's another purpose to these three sessions also applicable to the other two: Perelman for the first time applies an intervallic system whereby he gives the intervals between the pitches in a scale equal weight.
Corpo once again is Perelman squaring off with one of his favored partners, the pianist Shipp. This marks the sixteenth time the two have performed together on a record...since 2010. To the musical scholar, the way that Perelman and Shipp treat fifths, thirds and sevenths without any favoritism toward any of them might be the point of intrigue, but for the rest of us, a simpatico that has now become impeccable is the reason for the magic. Over twelve pieces performed and recorded in the same sequence as it's presented on the record, Perelman and Shipp move in the same direction, in the same sentiment and in the same cadence. Whether they are somber ("Part 1"), frisky ("Part 2"), moving between dissonance and dulcetness ("Part 5") or fluidity and choppiness ("Part 6"), it's hard to consistently tell who is leading whom. And when that's occurring, there's truly a oneness of mind.
[...] Ivo Perelman makes a lot of music because he has so much to say. Even when there is only one other musician alongside him with which to express all these new inspirations."-S. Victor Aaron, Something Else Reviews
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• 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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