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Perelman, Ivo & Matthew Shipp (w/ William Parker): The Art Of Perelman-Shipp Volume 1 Titan (Leo)

For more than 20 years Brazilian tenor saxophonist Ivo Perelman and New York pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this first volume of 6 albums brings the two together with frequent collaborator William Parker for a 6 part work, fittingly dedicated to Saturn's largest moon, "Titan".
 

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product information:


UPC: 5024792079421

Label: Leo
Catalog ID: LEO 794
Squidco Product Code: 24503

Format: CD
Condition: New
Released: 2017
Country: UK
Packaging: Jewel Case
Recorded at Parkwest Studios, in Brooklyn, New York, in October, 2016, by Jim Clouse.


Personnel:

Ivo Perelman-tenor saxophone

Matthew Shipp-piano

William Parker-bass

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track listing:


1. Part 1 7:00

2. Part 2 5:59

3. Part 3 4:03

4. Part 4 5:32

5. Part 5 7:16

6. Part 6 19:57
Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
NY Downtown & Jazz/Improv
Parker, William
Leo Records
Trio Recordings
New in Improvised Music
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descriptions, reviews, &c.

"The passionately ingenious Brazilian tenor saxophonist Ivo Perelman enjoys a unique partnership with the brilliantly eclectic pianist Matthew Shipp: it stretches back more than two decades and encompasses more than 30 recordings that document the ever expanding extent of their seemingly mystical connection. Now, in their most ambitious project to date, Perelman and Shipp present The Art Of Perelman-Shipp, a series of seven discs (released simultaneously), all centered around the core of their collaborative formats - the sax-piano duo that constitutes a binary star system all its own.

These artistic soulmates engage in a musical communication that calls to mind the greatest partnerships in improvised music: Parker and Gillespie, Brubeck and Desmond, Coltrane and Tyner. As Neil Tesser, who annotated all seven discs, writes: "At this juncture, and especially in the duo format, [Perelman and Shipp] each can anticipate the other's responses. A connection exists that some would call telepathy - or even clairvoyance. Not only do they finish each other's sentences; they also start them." But not even Coltrane and Tyner approached each performance in the way of Perelman and Shipp, who walk into the studio without any preconceived plan - no written theme, no harmonic schemes, no outline of the events that will take place - and simply start to play, allowing the music to go where it will and trusting their shared history to guide the proceedings.

All CDs are named after the planet Saturn's moons and on the front covers one can see fantastic Ivo Perelman's paintings which turn the whole thing into a work of art and instant collector's item."-Leo Records



"It's interesting that Volume 1 begins with Shipp's old bandmate from David S. Ware's quartet, bassist William Parker - because (I'm jumping ahead here) most of these groups center around Perelman & Shipp as a duo. In this trio, Shipp often splits alliances between Perelman & Parker. On Part 2, for example, Shipp & Parker hang stars in the sky while Perelman shoots at them from the moon. (Hey, I saw it.) Soon after, the core duo of Perelman-Shipp locks down, leaving Parker to play against them as a solidified unit.

When all three players take equal part in the exploration it's especially thrilling. On Part 4, they successfully attempt to compose a Brecht-by-way-of-Lester-Young ballad on the fly. Naturally, it ends as something else entirely - but as something unique and complete as a whole. Part 5 also begins with all three musicians functioning as a creative trio, playing in a style I'd call more "conventionally free" as opposed to the more painterly pieces that precede it. Shipp & Parker get an extended spot together, before Perelman joins in again and switches the dynamic back to Perelman-Shipp with solid support from Parker.

Part 6 is all over the map. It opens with Perelman playing mournful vibrato notes almost to the point of parody, with Parker's arco bowing adding to the pathos. Shipp's support, naturally, is melodic and sedate. By the five-minute mark, the trio has joined together as one playing a free jazz rembetika of immediate origin. Shortly after this, Parker is leading with a bop-era bass line, sparking Shipp to respond with an angular avant riff, over which Perelman invokes the spirit of '70s Arista-era Braxton. There are also hints of the blues, marches (Braxton again), and Perelman sounding positively soulful during some amazing runs. I'm not sure how it holds together as a single piece, but it's a wild ride."-Tom Burris, The Free Jazz Collective



See Also:

The Art Of Perelman-Shipp Volume 1
The Art Of Perelman-Shipp Volume 2
The Art Of Perelman-Shipp Volume 3
The Art Of Perelman-Shipp Volume 4
The Art Of Perelman-Shipp Volume 5
The Art Of Perelman-Shipp Volume 6
The Art Of Perelman-Shipp Volume 7
Get additional information at The Free Jazz Collective

Artist Biographies:

"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/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"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)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"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/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

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