Tight interaction in an incredible weaving of creative ideas and technical prowess from the duo of tenor saxophonist Ivo Perelman and trumpeter Nate Wooley, the two New York-based improvisers recording in the studio in Brooklyn in 2020 for ten dialogs, a perfect distillation of their work together after four CDs in larger group efforts; captivating.
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Label: Burning Ambulance Music
Catalog ID: Ambulance Music BAM71
Squidco Product Code: 30341
Packaging: Cardboard Gatefold
Recorded, mixed and mastered by Jim Clouse at Park West Studios, Brooklyn, NY, February 2020
Ivo Perelman-tenor saxophone
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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 Nate Wooley
"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."-Nate Wooley Website (http://natewooley.com/about)
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1. Four 6:51
2. Two B 3:31
3. Seven A 5:07
4. Three A 3:16
5. Five A 2:56
6. Eight 2:56
7. Two A 2:24
8. One A 1:59
9. Nine Short 1:27
10. Six 10:49
sample the album:
"Burning Ambulance Music is proud to announce Polarity, a collection of improvised but deeply considered duo encounters between tenor saxophonist Ivo Perelman and trumpeter Nate Wooley.
Perelman has released more than 100 CDs over a 30-year career, building creative relationships with players from all corners of the free music world. Wooley has worked extensively with Anthony Braxton, John Zorn, Ingrid Laubrock, Ken Vandermark, and many others, and has built up a vast and fascinating discography of his own.
This is their fifth CD together, but their first duo recording."-Burning Ambulance Music
"It could be said that Nate Wooley is the Ivo Perelman of the trumpet and Ivo Perelman is the Nate Wooley of the tenor saxophone. If Wooley was playing sax, it'd probably sound a lot like Perelman and likewise if Perelman had picked up a trumpet, it would likely resemble Wooley's playing. Two instruments, one mind.
So maybe it's no mystery that they've recorded together on at least five separate occasions, most recently, in a trio and another time, in a quartet. With Polarity, it's just the two, and it seems like that's a long time coming, because they both thrive as pure improvisers in intimate settings.
And so Ivo Perelman and Nate Wooley convened for a sessions that produced ten, distinct improvisations. With only one person with whom to interact, each regard this tete-a-tete as a whole different ball game than their prior meetings, and they go for it.
"Four" is not the Miles Davis song, and Wooley's trumpet could hardly be any difference from that from the Prince of Darkness. Both he and Perelman shoot out the gate engaging in an animated conversation that's full of gumption and wit, always perfectly reading each other's vibe.
The notes come out so labored on "Two B," you can almost hear the sweat oozing from them. By the end of the performance though, the sentiment is one of peace. On "Seven A" and elsewhere, Wooley shows off his flair for pushing what's possible with a trumpet to its limits, much as Perelman does with his tenor sax.
Perelman and Wooley turn inward for "Three A," a fragile and introspective tune that relies on the players' ability to turn notes into vehicles for nuanced emotion and that's just what these cats do. "Five A" feels like an adrenaline rush as they chase each other across a vast tonal field.
On tunes like "Eight" it's hard to tell the usually dissimilar sax and trumpet apart, they are so locked into the same plane. This is the case even when Perelman ends up singing in the same free manner that he plays his horn. Wooley's plunged brass is a changed in approach that he uses for "Two A" and even here he deploys it in uncommon ways in order to stay connected with Perelman. Wooley wields the plunger again for "Nine Short" as Perelman's human-like elocution on sax has him 'speaking' in the same dialect.
Wooley and Perelman mostly keep their duologues short and concise, many running only about two minutes, but the ten-minute-plus "Six" is an opportunity to fully unwind ideas imagined on the fly. They use this time converging and diverging again, following along a melodic line that they themselves don't know about in advance."-S. Victor Aaron, Something Else Reviews
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NY Downtown & Metropolitan Jazz/Improv
Recordings by or featuring Reed & Wind Players
Recordings featuring brass instruments - trumpets, trombones, tubas, other horns
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