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Perelman, Ivo / Mat Maneri / William Henry Roberts / Ned Rothenberg: Strings 2 (Leo Records)

The second in Ivo Perelman's 7-CD "Strings" series with a core duo of Perelman on tenor saxophone and Mat Maneri on viola, are joined by Downtown NY cellist Hank Roberts on 7 of 9 tracks, and bass clarinetist Ned Rothenberg on 4; the addition of Roberts adds an emotional drive to their recordings, as Rothenberg brings spectacular technique and creative power.
 

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product information:


UPC: 5024792085125

Label: Leo Records
Catalog ID: LEO 851
Squidco Product Code: 26974

Format: CD
Condition: New
Released: 2019
Country: UK
Packaging: Jewel Case
Recorded at Parkwest Studios, in Brooklyn, New York, in August, 2018, by Jim Clouse.


Personnel:

Ivo Perelman-tenor saxophone

Mat Maneri-viola

Hank Roberts-cello

Ned Rothenberg-bass clarinet

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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/)
8/21/2019

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"Mat Maneri was born in 1969, and started studying violin at age five. He studied privately with Julliard String Quartet founder Robert Koff, and with bass virutuoso Miroslav Vitous. Mat received a full scholarship as the principal violinist at Walnut Hill High School, but left school to pursue a professional career in music. By 1990, Mat founded the critically acclaimed Joe Maneri Quartet with Randy Peterson. Mat started releasing records as a leader in 1996, and has developed four working ensembles. Pianists Paul Bley, Cecil Taylor, Matthew Shipp, and Borah Bergman have called upon Matt to perform with them in such venues as the Montreal Jazz Festival, the Library of Congress, and concert stages across Europe. Mat also enjoys a strong relationship with bassists Ed Schuller, Mark Dresser, William Parker, Michael Formanek, Barre Phillips, and John Lockwood. Never to be boxed in, Mat has also worked with Joe Morris, John Medeski, Tim Berne, Cecil McBee, T.K. Ramakrishnan, Franz Kogelman, Roy Campbell, Spring Heel Jack, Draze Hoops, and appears on an Illy B Eats remix CD. Mat presently teaches privately and through the New School / NYC, and performs and records worldwide."

-Aum Fidelity (http://www.aumfidelity.com/maneri.html)
8/21/2019

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"Over his nearly four-decade career, Hank Roberts has forged a compelling original voice as a composer and a cellist, encompassing abstract improvisation, jazz influences, soulful folk melodies, intricate new-music compositions and vigorous rock songs.

Born in Terre Haute, Indiana, Roberts made his name in the 1980s legendary New York Downtown scene. Faced with a dearth of improvisational cellist mentors or peers, he carved his own path through that fertile ground alongside such frequent collaborators as Bill Frisell, Tim Berne, Marc Ribot and John Zorn, finding a second home at the famed Knitting Factory, leading and recording with his own groups, 'Birds of Prey, 'Black Pastels', 'Little Motor People' and co-founding 'Miniature' with Tim Berne and Joey Baron, and the 'Arcado String Trio' with Mark Feldman and Mark Dresser.

The list of names with whom Roberts has shared stages or recording studios with includes Gavin Friday (with the members of U2), Sting, Jeff Buckley, David Sanborn, Mamadou Diabate, Andy Summers, Gary Burton, Marty Ehrlich, Arto Lindsey, Gerry Hemingway, Don Byron, and Julius Hemphill.

He is currently a member of Bill Frisell's 858 Quartet and Big Sur Quintet, and appeared on the guitarist's Grammy-winning 2004 release Unspeakable. He's recorded 10 albums on the 'Winter & Winter' label, along with numerable self-released recordings. His solo performances are singularly compelling and unpredictable, wending from jagged dissonance to intoxicating pop songcraft.

Nürnberger Zeitung: the American cellist, Hank Roberts, dares to present magical musical field tests, which sound as delicate as a moribund musical box or intoxicating emotional like a pop song. ...ingenious."

His 2008 CD Green, with drummer Jim Black and guitarist Marc Ducret, won that year's German Recording Critics' Award in the Jazz category. "There's a wisdom and patience and catholicity in this record ('Green'). 'It's all one song,' goes the hip musician's cliché, but Mr. Roberts walks that walk." Ben Ratliff, NY Times

Based since 1989 in Ithaca, New York, Roberts finds inspiration in the area's thriving music scene. He performs and records locally with a host of uniquely talented musicians and plays annually at the Finger Lakes Grassroots Festival, which spans a range of music from old-timey Americana to African and Cajun music. He's shared that stage with artists such as Ti Ti Chickapea with Richie Stearns and Eric Aceto, Tenzin Chopak and Rockwood Ferry, Kevin Kinsella, Mamadou Diabate, Jeb Puryear, Keith Secola, Nery Arevalo, Martin Simpson, the Sim Redmond Band, John Brown's Body, and Donna the Buffalo.

Roberts contributed musical arrangements and appears in the film Greetings From Tim Buckley, which premiered at the 2012 Toronto International Film Festival."

-Hank Roberts Website (http://www.hankrobertsmusic.com/bio/)
8/21/2019

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"Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 33 years on 5 continents. He performs primarily on alto saxophone, clarinet, bass clarinet, and the shakuhachi - an endblown Japanese bamboo flute. His solo work utilizes an expanded palette of sonic language, creating a kind of personal idiom all its own. In an ensemble setting, he leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla, works with the Mivos string quartet playing his Quintet for Clarinet and Strings and collaborates around the world with fellow improvisors. Recent recordings include this Quintet, The World of Odd Harmonics, Ryu Nashi (new music for shakuhachi), and Inner Diaspora, all on John Zorn's Tzadik label, as well as Live at Roulette with Evan Parker, and The Fell Clutch, on Rothenberg's Animul label."

-Ned Rothenberg Website (http://www.nedrothenberg.com/short&extended_biography.html)
8/21/2019

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track listing:


1. Pt. 1 4:11

2. Pt. 2 1:35

3. Pt. 3 5:38

4. Pt. 4 2:45

5. Pt. 5 6:49

6. Pt. 6 3:22

7. Pt. 7 3:34

8. Pt. 8 5:44

9. Pt. 9 15:22

sample the album:








descriptions, reviews, &c.

"The central musician on these recordings is the violist Mat Maneri. He plays on all nine tracks of the CD, but what makes this recordings really special is the combination of viola and bass clarinet. This is the only recording so far in the huge discography of Ivo Perelman when he brings together viola and bass clarinet. Hank Roberts performs on seven tracks out of nine and Ned Rothenberg is on four tracks. Hank Roberts is famous for his emotional drive while Ned Rothenberg is revered among new-music listeners for his extraordinary display of extended technique."-Leo

"Strings 1 and Strings 2 are concurrent releasesÑthe first of seven themed albumsÑthat also could have been subtitled "The Art of Improvisation," hearkening back to tenor sax titan Ivo Perelman's 6-volume 2016 releases, featuring longtime collaborator, cellist Mat Maneri and others. Hence, the cellist appears on both of these new Chamber-like groupings as Strings 2 also features luminaries, cellist Hank Roberts and his first on-disc encounter with reedman Ned Rothenberg.

Here, world-class violinists Mark Feldman and Jason Hwang consummate the quartet. When multiple conversations occur, the musicians trade bountiful narratives amid streaming staccato riffs and intersecting exchanges that uncannily mimic human vocal characteristics along with vast expressionism and plenty of counterpoint. Perelman often underscores these works with sensitively woven lines and breathy intonations or raises the bar when the band engages in argumentative and passionate iterations.

Essentially, the band tethers their realm of opportunity with stirring improvisational tactics but craft sublime storylines even with microcosmic folkish themes on "2," where rustic strings parts serve as a launching pad for attention-grabbing mini-motifs that spawn calming effects and boisterous outbreaks. On a side-note, Perelman played cello for many years before switching to the saxophone, and he does handle the lower registers with the Žlan of a cellist. Moreover, the musicians merge exquisite lines with probing choruses and have a little fun along the way, especially when it appears they are dueling or challenging each another. As the press release notes, "they share an almost identical written range and tonal color..."

The artists' hyper-invention imparts a signal that they were revved-up for this session. On "5," transitory strings plucking episodes, are outlined and accented by the saxophonist, leading to the violinists' sinuous plot developments and movements that intimate a domino effect, as they mimic previously executed lines. But "8" contains rhythmic tapping sounds and Perelman's flourishing theme-building offensive, tinted with a touch of bravado and a few bars of minimalism, leading to sequences of flirtatious improv. In addition, "9" features the string section's sawing unison notes and renegade classical music digressions with a great deal of counteractive measures, tempered by Perelman's somber phrasings and a low-key and somewhat nervy sub-plot, fabricated with menacing intentions.

The musicians' remarkable synergy and effortless ability to dole out terse little stories in continuous fashion is irrefutably impressive. And there are numerous deviations, spiced with clear-sighted developments, as all of these works contain substance and are not constructed with extraneous or insignificant exchanges and buildups. In addition, the quartet incorporates fleeting melodic content. Nonetheless, Strings 1 earns a spot as a late entry to for consideration on the 2018 best-of list. "-Glenn Astarita, All About Jazz


Get additional information at All About Jazz
Related Categories of Interest:


Leo Records
Improvised Music
Jazz
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Quartet Recordings
Stringed Instruments
Collective Free Improvsation
Recordings by or featuring Reed & Wind Players
New in Improvised Music
Recent Releases and Best Sellers


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