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Perelman, Ivo / Matthew Shipp: Magical Incantation (Soul City Sounds)

A standout in the many collaborations between New York pianist Matthew Shipp and Brazil-born, NY-based tenor saxophonist Ivo Perelman, recording in the studio for eight elegantly lyrical improvisations that invoke both devotional and decisive dialogs, from an introspective "Prayer" to a dissipated "Lustihood", a spellbinding set of fraternal invocations.
 

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Personnel:



Ivo Perelman-tenor saxophone

Matthew Shipp-piano


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UPC: 198500795080

Label: Soul City Sounds
Catalog ID: SCS-0019
Squidco Product Code: 34879

Format: CD
Condition: New
Released: 2024
Country: USA
Packaging: Cardboard Gatefold
Recorded at Park West Studios, in Brookyln, New York, the April 23rd, 2024, by Jim Clouse.

Descriptions, Reviews, &c.

"What is it about the musical connection between Matthew Shipp and Ivo Perelman? Both are accomplished musicians, and both can hold attention on their own, but it is when they record together that the heart of each musician is revealed just a little more. It is conceivable that due to the number of recordings they have made together, the time may come when the music becomes predictable. However, that time feels a long way off. Because both are complex musicians with multiple influences and the ability to execute changes of style, tone, and atmosphere in a heartbeat, the possibilities are endless - and while they may have explored a small section of their musical potential, Magical Incantation, out on Soul City Sounds, demonstrates they are not done yet. The duo finds more ways to interact, react, and interpret ideas. Their exploratory natures mean they bounce ideas off each other - some work, some not so much - but the intention to push the boundaries of piano and tenor saxophone and the way they combine and converse, means they find new roads to travel musically and seem to relish the different approaches.

Watching the evolution of a musician is interesting and because Perelman records so prolifically with a range of different musicians, his journey is ongoing. Like Shipp, he has many influences and both musicians have a history steeped in musical education and experiences. On 'Prayer' for example, Perelman delivers a warm, melodic, introspective rumination and remains in the lower register, proving his respected altissimo is not the only register he can communicate in with profound effect. Shipp, meanwhile, intuitively contrasts with gentle counterpointed melodies on the piano.

The music on this recording ranges from fast, gentle but furious anecdotes swapped and batted back and forth - such as on 'Rituals,' where Shipp lays down tricky rhythms while Perelman shifts from altissimo to lower register and back in full flow - to gorgeous, rounded sections such as those from both players on 'Lustihood'. Musical intuition abounds on tracks including the stand-out 'Enlightenment' where Shipp delivers a wealth of ideas that Perelman takes, shapes, and throws across the top for Shipp to capture and reflect. The concluding section of this number is beautiful.

On 'Sacred Values' there is an atmosphere of mystery and awe with both players introducing a sense of respect and almost tentative entry at times. The deep rolling piano provides the perfect backdrop for Perelman's delivery at times, while at others, Shipp withdraws, leaving Perelman floating exposed across the top. The rising section is magnificent from both players as Shipp connects with what Perelman is doing and the texture and volume swells.

'Incarnation' is jumpy, forceful, and packed with energy, while 'Vibrational Essence' is as fugal as a two-part piece can be, with Shipp delivering classical-influenced lines transcending the keys in equal intervals and eloquent changes before Perelman enters.

Magical Incantation is atmospheric, thoughtful, and subtly powered by Shipp as he introduces changes of key and emphasis, to which Perelman reacts in Perelman fashion with a series of switches, ascensions, and descents of the keys. His musical reflexes are on point.

Perelman and Shipp have delivered another piece of their continuing musical dialogue - as beautiful and profound as much of their work before. Their multiple influences can be heard, from blues and classical music to freeform and complete improvisation and their ability to tell stories with music is a delight. One issues an invitation by pressing on with a distinct rhythm or pattern and the other either accepts the invitation and backs the other or invites the other to follow them as they diverge from the original concept - or maybe they come back to it. There is structure to the pieces however and they are not simply improvised meanderings that have no beginning, middle, and end. It is this structure that reflects the hardened learning of both musicians and displays their understanding of how music needs to make sense, to prevent it becoming simply noise. Shipp and Perelman prove music is a continuous journey and here, it feels as if two outstanding improvisers who understand each other have found the perfect partner to travel some of that journey with."-Sammy Stein, The Free Jazz Collective


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/)
6/12/2024

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)
6/12/2024

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


Track Listing:



1. Prayer 5:00

2. Rituals 4:17

3. Lustihood 5:36

4. Enlightenment 5:35

5. Sacred Values 4:30

6. Incarnation 5:59

7. Vibrational Essence 7:22

8. Magical Incantation 7:36

Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Duo Recordings
Staff Picks & Recommended Items
New in Improvised Music
Recent Releases and Best Sellers

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Soul City Sounds.


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