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Perelman, Ivo & Matthew Shipp (w/ William Parker / Whit Dickey): The Art Of Perelman-Shipp Volume 5 (Leo)

For more than 20 years Brazilian/NY saxophonist Ivo Perelman and NY pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this 5th volume celebrating that partnership brings the duo together with bassist William Parker and drummer Whit Dickey, where the long-term bonds of all 4 players push each to great heights.
 

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product information:


UPC: 5024792079827

Label: Leo
Catalog ID: LEO 798
Squidco Product Code: 24507

Format: CD
Condition: New
Released: 2017
Country: UK
Packaging: Jewel Tray
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

Whit Dickey-drums

Highlight an artist name or instrument above
and click here to Search
track listing:


1. Part 1 16:13

2. Part 2 5:36

3. Part 3 6:19

4. Part 4 4:32

5. Part 5 9:20

6. Part 6 7:03

7. Part 7 4:50
Related Categories of Interest:


Leo Records
Improvised Music
Jazz
Free Improvisation
European Improv, Free Jazz & Related
Quartet Recordings
Parker, William
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New in Improvised Music
Recent Releases and Best Sellers

sample the album:








descriptions, reviews, &c.

"Reah finds us back with the Pandora Ware group, minus Parker, plus Bisio. Perelman gets an early melodic find and begins to explore his discovery above the band, which is cooking. The dynamic changes fairly often from this point, however, with an early Perelman-Shipp lockdown and a Shipp break a couple of minutes later. The band continues to support Perelman as a single engine, pushing him onto even greater heights than before.

The blueprint was laid out early, as Perelman continues to set up the band with a melodic structure early in a piece, then let's them start chiseling away at it - or lifting it. On Part 3, Perelman enters after a sharp Shipp solo with such strong lines the band rallies behind him with extra verve. Perelman likes to blur his lines at times, which comes off particular well when he quotes Wayne Shorter on Part 2. During this section, the band is tentative - except Shipp, who drops a fist on the lowest octave of the keyboard a few times. Is he goading Perelman on or kicking his ass? Hard to say, but it works.

I love the sequencing of the tracks on this disc. There are also some pretty visual moments here as well - such as Part 6, which sounds like an intense Hitchcock murder scene. A melodramatic intensity follows, conjuring up silent film imagery. This is followed by Part 7, in which the band compose a convincing ballad in real time. It wouldn't have surprised me to hear a raspy "How's that, Teo?" at the end."-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/)
5/21/2018

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)
5/21/2018

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/)
5/21/2018

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

"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)
5/21/2018

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

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