Ivo Perelman - Man of the Forest

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 46:15
Size: 106,8 MB
Art: Front

(12:28)  1. Man of the Forest
( 5:47)   2. Cantiga Caicó
(11:05)  3. Valeiro
( 5:24)   4. Rasga o Coraçao
(11:29)  5. Prelude No. 1

Ivo Perelman, who has been thought of as a Brazilian Albert Ayler (although that is a simplification and a denial of his originality), fuses together Brazilian music (the playing of his percussionists) with creative jazz in this unusual tribute to the compositions of the Brazilian classical composer Heitor Villa-Lobos. Actually Perelman just uses Villa-Lobos's motifs as a point of departure but one could call the results world fusion since Perelman's mixture creates some startling jazz. Pianist Joanne Brackeen makes her presence felt during her three appearances (including the modal waltz "Veleiro" and the ballad "Rasga O Coracao") while the interaction between the tenor, the accordion of Dom Salvador and the percussionists on "Cantiga Caico" is delightful. Ivo Perelman has an intense sound, complete control of his instrument and an emotional style a little like Archie Shepp in his prime. His passionate music deserves close attention. ~ Scott Yanow https://www.allmusic.com/album/man-of-the-forest-mw0000126576

Personnel: Tenor Saxophone, Arranged By, Adapted By – Ivo Perelman; Accordion – Dom Salvador; Bass – Mark Helias; Caxixi, Bells, Other [Shells], Voice – Nana Vasconcelos; Caxixi, Triangle, Wood Block [Wood Blocks] – Duduka Da Fonseca; Cuica, Drum [Timba], Congas, Pandeiro, Drum [Zabumba], Bells – Guilherme Franco; Drums – Billy Hart; Pandeiro, Cuica, Triangle [Triangulo], Gong [Gongs], Caxixi, Drum [Ceramic Drum], Bells – Cyro Baptista; Piano – Joanne Brackeen 

Man of the Forest

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Ivo Perelman - Reverie

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 54:07
Size: 124,4 MB
Art: Front

(10:15)  1. Transcendence
( 3:56)  2. Contemplation
(13:38)  3. Pensiveness
( 5:18)  4. Pursuance
(14:21)  5. Placidity
( 6:37)  6. Reverie

The release of Reverie marks 25 years of recording for Ivo Perelman and more than 50 albums under his own name, since his first, Ivo, in 1989.  He has released 17 of these since 2011, which is astonishing.  Many other musicians might have succumbed to the temptation to release a retrospective album and the title of this one might have led our thoughts in that direction, but this Reverie is of a very different kind and in a way that dissimilarity is down to pianist Karl Berger.  The saxophonist has in recent years been recording in his inimical, totally free style with pianist Matthew Shipp, who explores intense, impenetrable patterns and churning, spinning tempos.  Berger is quite different and makes this album an unusual venture for Perelman, as it is markedly disparate to all that he has done before. Karl Berger, too, is an avidly experimental musician, but the divergence is in the spaces left in his playing and Perelman has responded to that.  Both performers are reacting one to the other, both act in response to what they perceive aurally.  The result is calmer, more lucid even, the same extreme fervour expressed more subtly, more elusively.  Although Berger's own music often sounds like that of an old-hand, avant-garde musician of the classical calling (Heidelberg Conservatoire and University) he was in fact partnered with Ornette Coleman in establishing the Creative Music Studio in 1972 (Woodstock, N.Y.) and has played with Carla Bley, Marion Brown, Don Cherry, Lee Konitz, John McLaughlin, Roswell Rudd and Sam Rivers.  Karl is 79. So, no back-tracking, Ivo Perelman is still moving forward and at speed.  I am convinced that he will never repeat himself, never be lacking the incipient data that starts a new chain of thought that leads to the next step.  His musical future lies in the future and whatever that may be, the anticipation in itself will be precious. ~ Ken Cheetham http://www.jazzviews.net/ivo-perelman--karl-berger---reverie.html

Personnel:   Tenor Saxophone [Tenor Sax] – Ivo Perelman;  Piano – Karl Berger

Reverie

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Ivo Perelman - Tenorhood

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 46:51
Size: 107,7 MB
Art: Front

( 7:50)  1. For Mobley
( 9:04)  2. For Webster
( 5:29)  3. For Coltrane
( 3:31)  4. Tenorhood
( 8:06)  5. For Ayler
(12:48)  6. For Rollins

For this meditation session, we ask you not to think about the legends of the tenor saxophone. Just listen to the interplay between Ivo Perelman and drummer Whit Dickey. Press play, and ignore the track titles dedicated to Hank Mobley, Ben Webster, John Coltrane, Albert Ayler, and Sonny Rollins  Why? Because, the saxophonist did just that when he created Tenorhood, a totally improvised collection of pieces the pair recorded in 2014. The Brazilian-born, New York resident has released music on a scale not seen since David Murray's campaigns of the 1990s, producing more than 20 albums in the last four years. Dickey has been a part of five of the sessions. As with all his later work, this music is improvised. A switch is flipped and the magic happens. With Tenorhood, he created these titles after playback  Perelman hearing the gestures and fragments of his tenor saxophone heroes within his own creations.

The pleasure here is finding those gestures in this music. The easiest to recognize is "For Ayler," a sound Perelman has conjured from his earliest days. Listen again to Soccer Land (Ibeji, 1994) and Albert Ayler's spirit is ever present in the wail and yowl of the master. Then there's "For Coltrane," and certainly no modern player has escaped feeling the weight of John Coltrane's music in life. Perelman and Dickey exercise the music of Intersteller Space (Impulse!, 1967), Dickey is a dynamo here, but more importantly, he is as much an accompanist to Perelman as pianist Matthew Shipp. He can color his sound, support, or challenge the saxophonist. He is even given all of the title track to solo with mallets and cymbals. There is spirit here, and life. The beauty of Ben Webster and the swing of Hank Mobley, both laid out in only barely recognizable signals. The pair end with Sonny Rollins. Perelman works that upper altissimo register that both he and Rollins are famous four. If you listen to Tenorhood with the openness of a meditator's mind, you are certain to hear all the spirits that inhabit the person that is Ivo Perelman. ~ Mark Corroto https://www.allaboutjazz.com/tenorhood-ivo-perelman-whit-dickey-leo-records-review-by-mark-corroto.php

Personnel: Ivo Perelman: tenor saxophone; Whit Dickey: drums.

Tenorhood

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Ivo Perelman - Cama De Terra

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 53:56
Size: 130,5 MB
Art: Front

(0:47)  1. Soundcheck
(2:58)  2. One converse
(4:37)  3. To another
(8:51)  4. Nho quim
(5:37)  5. Spiral
(3:54)  6. Adriana
(4:54)  7. Groundswell Descent
(3:50)  8. Dedos
(2:40)  9. Elephants Have Brains
(9:24) 10. Cama de terra
(6:19) 11. The Dark of Day

In the mid- to late 1990s, Ivo Perelman was recording frequently and freelancing for more than a few independent labels. So many trips to the studio might have been overkill for less interesting players, but Perelman had so much to say musically that it was good to see him being extensively documented. To his credit, he kept things unpredictable by recording in a variety of settings. 

Cama De Terra found the tenor explorer in a drumless trio with bassist William Parker and the Cecil Taylor-influenced pianist Matthew Shipp, both of whom communicate with him splendidly on such absorbing Perelman compositions as the dusky "Elephants Have Brains," the chaotic "Spiral" and the angular "To Another." A very dark and lonely ballad, "Adriana" is one of the most moving songs Perelman has ever written. ~ Alex Henderson https://www.allmusic.com/album/cama-de-terra-mw0000086473

Personnel: Ivo Perelman - tenor sax;  Matthew Shipp - piano;  William Parker - bass

Cama De Terra

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Ivo Perelman - Book Of Sound

Styles: Saxophone Jazz 
Year: 2014
File: MP3@320K/s
Time: 52:23
Size: 124,4 MB
Art: Front

( 7:22)  1. Damnant Quod Non Intelligunt
( 4:51)  2. Candor Dat Viribus Alas
( 8:30)  3. De Gustibus Non Est Disputandum
( 9:36)  4. Adsummum
( 8:24)  5. Adde Parvum Parvo Magnus Acervus Erit
(13:37)  6. Veritas Vos Liberabit

Brazilian tenor saxophonist Ivo Perelman is a remarkably productive recording artist known for combining simple Brazilian folk themes with the techniques of free jazz. While he plays well in the heavily distorted, abstract-expressionist vein first tapped in the '60s by the Albert Ayler, he also fits nicely alongside his similarly inclined contemporaries like Elliott Levin and Ken Simon. Born in Sao Paulo in 1961, Perelman played classical guitar, cello, clarinet, trombone, and piano while growing up. At the age of 19 he adopted the tenor saxophone as his primary instrument. After arriving in the U.S., he attended the Berklee School of Music in Boston for a semester before dropping out (Perelman is purportedly a mostly self-taught player). Perelman's travels took him to Los Angeles in 1986, where he studied privately and performed. His first album, Ivo from 1989, featured an all-star cast that included drummer Peter Erskine, bassist John Patitucci, percussionist Airto, and vocalist Flora Purim, among others. Also around this time, Perelman relocated to New York. During the '90s, he founded his own Ibeji label, releasing albums like Soccer Land and Tapeba Songs. Ever explorative, in 1997 Perelman combined Jewish music and avant-garde jazz, making En Adir: Traditional Jewish Songs for the Music & Arts label. Quite prolific, Perelman recorded often with players of the avant-garde; he's made albums with the bassist Dominic Duval, pianist Borah Bergman, drummers Rashied Ali and Jay Rosen, and pianists Marilyn Crispell and Matthew Shipp, to name just a few. In the 2000s, Perelman continued his busy recording schedule, pairing most often with pianist Shipp, as well as adventurous collaborators like violinist Mat Maneri, guitarist Joe Morris, drummer Gerald Cleaver, and others. Many of these efforts were issued via Leo Records including such albums as 2011's The Hour of the Star, 2012's Clairvoyant, 2014's Book of Sound, and 2016's Blue. Also in 2016, Perelman released six volumes of a series on Leo called The Art of the Improv Trio. A similar series detailing his partnership with Shipp, the seven-volume The Art of Perelman-Shipp, appeared in 2017. ~ Chris Kelsey https://itunes.apple.com/us/album/book-of-sound/1080202636

Personnel: Ivo Perelman: tenor saxophone; Matthew Shipp: piano; William Parker: bass.

Book Of Sound

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Ivo Perelman - Introspection

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 79:20
Size: 187,3 MB
Art: Front

( 5:38)  1. Introspection
( 9:50)  2. Karmic Forces
( 8:40)  3. Divine Awareness
( 8:18)  4. Extended Consciousness
(14:56)  5. Spiritual Destiny
( 4:27)  6. Self-Forgiveness
( 5:56)  7. All Power Emanates From One Source
(10:44)  8. Angel of Forgetfulness
(10:47)  9. Faith

In no uncertain terms: the Brazilian Ivo Perelman with this remarkable recording confirms himself as one of the most important tenor saxophonists of the free-of-today scene. Perelman has favored the trio formula, a training that allows him to act with the necessary freedom of expression and with which he recorded his latest work Black on White for the Portuguese Clean Feed. On Introspection instead we find him at the helm of a quartet that includes the violinist Rosie Hertlein. It is a group of musicians, however, with 'variable geometry', for example "Divine Awareness" is a duo between Dominic Duval's leader and powerful double bass, while other songs develop into a trio, without drums or without contrabass ( "All Power Emanates from One Force"). The magnetism of a series of songs constructed with extreme concentration and a deep sense of the construction of the sentence, however, also lies in this alternation of formulas. Perelman and the violinist do not disdain magmatic moments, as in "Karmic Forces", balding the ghosts of a free historian who is always around the corner and never denied. But the whole album takes place on other coordinates, escaping the temptation to offer a music in which the expressiveness of the gesture prevails over any formal preoccupation. There is a precise way to structure palpitating and intense atmospheres for a path that exploits dilated spaces without rhetoric or pretentiousness, simply necessary in order to allow to express everything possible. The solos are developed along arcs of tension that intertwine with the rhythm in a coherent whole, without flaws or moments in search of a common thread. A free structured therefore, and yet participates in the shady, dark, spontaneous contents in their long unraveling, witness of a mainly interior artistic growth, without which so much balance and spirituality of intent would end up slipping without escape in the daily routine. Perelman chose not only music but also abstract painting as a means of expression. The paintings inside the booklet are, like the music, the testimony of an artist in continuous growth.~  AAJ ITALY STAFF https://www.allaboutjazz.com/introspection-ivo-perelman-leo-records-review-by-aaji-staff.php

Personnel: Ivo Perelman (tenor saxophone); Rosie Hertlein (violin); Dominic Duval (double bass); Newman Baker (drums)

Introspection

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Ivo Perelman - Soul

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 56:16
Size: 129,1 MB
Art: Front

(5:47)  1. Metaphysical
(8:03)  2. Crossing
(7:03)  3. Eyound
(4:59)  4. Fragments
(4:34)  5. Belvedere
(5:03)  6. Landscape
(8:06)  7. Soul
(5:51)  8. Joy
(6:46)  9. The Unknown

One might approach this album as though it were an extension of the Perelman/Shipp duo recording, Corpo, made one week earlier.  It would not be appropriate to think that there is an historical jazz relationship at play here between Body (Corpo) and Soul there is no audible reference in the music to this possibility and it would hardly be appropriate to musicians who do not use ‘written’ notes.  What is true is that the addition to the duo of Bisio and Dickey rounds out their music with the addition of shades and tints and grain. There are distinctly different moods and swings through the music, but these are not intentionally drawn.  They are discovered or brought into being as the music develops, rather than being ‘borrowed’ from a composer’s sheet music and this produces a tranquil air in which these four musicians are heard to be entirely contented with each other and within themselves, even when in perpetual commotion. ‘Joy’ (Track 8) is particularly redolent of this, the saxophone being steered by the bass through the drummer’s ricochets and towards the doggedness of the piano, relentlessly pursuing the horn’s accompaniment.  In full improvisational mode, the quartet settles into poised extemporisation in which bass and drum effortlessly balance the comings and goings of the piano and saxophone. The improv is luxurious and it seems as though any individual in the band can take the place of another, such are their articulations.  They ‘read’ each other non-stop. http://www.jazzviews.net/ivo-perelman---soul.html

Personnel:  Ivo Perelman, tenor saxophone; Matthew Shipp, piano; Michael Bisio, bass; Whit Dickey, drums.

Soul

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Ivo Perelman - Breaking Point

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 61:31
Size: 141,1 MB
Art: Front

( 8:14)  1. Harsh Moon
( 8:02)  2. Dance Matters
( 6:12)  3. Catch 22
( 9:58)  4. The Haunted French Horn
( 6:49)  5. Sound Healers
(14:54)  6. The Forest of Feet and Bass Drums
( 7:19)  7. Breaking Point

Tenor saxophonist Ivo Perelman usually releases albums in waves. Thus, Breaking Point is one of five concurrent productions issued on UK-based Leo Records, and offers the listener a kaleidoscopic glimpse of various ensemble lineups. Over the years Perelman has attained a comfort zone and noticeable synergy with the artists' performing on this outing, as the saga continues on Breaking Point. Perelman's super-powered lungs are in full force, but his tender side is also evident, especially during his somber interactions with violist Mat Maneri on "Harsh Moon," which opens up into a staggered bump and grind episode. Here, the band steps it up with a day of reckoning like underpinning amid frenzied interweaving notes and drummer Gerald Cleaver's swarming polyrhythmic pulse. Other tracks offer irregular currents encompassing mood-evoking sentiment and a few abrasive gambits along with imagery of a histogram, depicting a horde of dips and spikes.

The quartet dishes out an expansive program and a surfeit of fleeting mini-themes, framed on unabashed freedom of expression, where boundaries simply do not exist. Toss in a few Spartan interludes with the saxophonist's galactic plaintive cries; moments of pathos, densely layered improvisational segments and you will get an idea of the band's kinetic output. But "The Sound Healers" is a tad playful in scope as the soloists' linear movements and spiraling crescendos lead to a fast and furious game-plan. " The Forest of Feet and Bass Drums" is where the quartet reaches that point of no return as Perelman and Maneri exchange terse phrasings and expressive discourses, contrasted by some bizarre effects and a multitude of aftershocks. Moreover, bassist Joe Morris lays down a pliant underpinning as Cleaver stretches out, leading to a finale then ends on a murmur. Here and throughout, the quartet arrives at breaking points but also thaw tense situations. Yet they often regroup and renew these cyclonic plots with the greatest of ease. ~ Glenn Astarita https://www.allaboutjazz.com/breaking-point-ivo-perelman-leo-records-review-by-glenn-astarita.php

Personnel: Ivo Perelman: tenor saxophone; Mat Maneri: viola; Joe Morris: bass; Gerald Cleaver: drums.

Breaking Point

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Ivo Perelman - The Other Edge

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 65:20
Size: 149,9 MB
Art: Front

(10:57)  1. Desert Flower
( 9:29)  2. Panem Et Circenses Part 1
( 4:15)  3. Crystal Clear
(10:51)  4. Panem Et Circenses Part 2
( 5:48)  5. Latin Vibes
( 6:37)  6. Petals or Thorns
( 6:55)  7. Big Band Swing
(10:22)  8. The Other Edge

As we’re reminded with the just-issued Root of Things, Matthew Shipp, Michael Bisio and Whit Dickey make up one of the most formidable acoustic trios in jazz of this day and age. The uncommon telepathy, the feel and the unpretentious emotion are the kinds of things that put them at or near the top of the list.  It’s those same qualities that also make them formidable companions to tenor saxophonist Ivo Perelman, a dazzling revelation that came out of their first encounter, 2013’s The Edge. That record is, in my opinion, the best of a solid half-dozen batch of top-shelf encounters Perelman released last year. Now comes the sequel christened, appropriately enough, The Other Edge. Conceived, performed and recorded all at once a mere two months ago, the ad hoc way the record was made already tells you much about the music.  As it was before and as it is with anything involving these musicians, The Other Edge (March 25, 2014, Leo Records) is a series of conversations among very skilled performers who elevate above their skills simply by listening very closely to each other. This ain’t the Matthew Shipp Trio Plus One, it’s an almost completely different quartet, because everyone is accounting for Perelman and Perelman accounts for everyone.

Relying so much on feel and intuition, often the opening sequence of a performance sets in motion a sequence of events that become the song. Shipp introduces motifs on “Crystal Clear” and “Panem Et Circenses Part 2,” Perelman will react to it, adding complexity to the pianist’s open-ended shapes and then the two begin to connect and improvise in sync. “Latin Vibes,” on the other hand, is launched by Perelman’s chirps and squeals and Dickey’s soft rapping on the tom-toms. When Shipp and Bisio make their entry, the urgency level ratchets up.  Even more interesting is the strategy used for “The Other Edge.” Here, Perelman’s sax “chats” with Bisio’s pizzicato bass at the upper register, as Shipp and Dickey meekly nudge their way in then begin to assert themselves. The other two give no ground, though, and a distant storm evolves into the eye of a squall. Shipp and Dickey recede, and the song ends with just Perelman and Bisio again, but this time in a lower register.

“Desert Flower” is an instance where Perelman is seemingly cast against Shipp’s trio. Beginning with Perelman’s unmistakable vernacular alone, the other three soon join in, playing a tonal melody but Perelman doesn’t move off his atonal perch, although his flow follows the flow of the trio. Bisio and Dickey murmur at a perfect volume, not too loud or too soft. The biggest treat comes from “Big Bang Swing”; after a tentative beginning, an actual swing breaks out. However, Perelman doesn’t have to change character to fit his sax into this mainstream setting. The tempo gets on the verge of dissembling at times only to recompose itself, like as if an invisible hand is guiding the band.  Four sentences into his liner notes for the album, Bisio mused that he had “said too much already” about the album. I get that. You can’t sufficiently put it into words though I tried because The Other Edge isn’t at all about scales, tempos, or harmony. It’s about the collective impulsive expression of spirit, and their instruments are just the delivery systems by which they do that. ~ S. Victor Aaron http://somethingelsereviews.com/2014/03/21/ivo-perelman-with-matthew-shipp-michael-bisio-whit-dickey-the-other-edge-2014/

Personnel:  Ivo Perelman - Tenor Sax; Matthew Shipp - Piano;  Michael Bisio - Bass;  Whit Dickey - Drums.

The Other Edge

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Ivo Perelman - Brazilian Watercolour

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 59:30
Size: 151,7 MB
Art: Front

(9:01)  1. Brazilian Watercolour
(5:27)  2. Ascendent
(7:03)  3. Desafinado
(2:52)  4. Traces
(8:50)  5. Summer Samba
(2:19)  6. Recitativo
(0:41)  7. Rimbotim
(5:55)  8. Explicativo
(6:35)  9. Pal Piteira
(1:11) 10. Flauting
(7:57) 11. The Boat
(1:34) 12. Pandeiros

Brazilian saxophonist Ivo Perelman cannot be accused of being lethargic or laid back. His energy level may rival that of American saxophonist David S. Ware; however, Perelman’s uniqueness lies within his South American roots and later day Trane or Albert Ayler modernistic approach. On “Brazilian Watercolour”, Perelman utilizes ex-Coltrane drummer Rashied Ali and long time David S. Ware associate, pianist (and solo artist) Matthew Shipp along with gifted percussionist’s Cyro Baptiste and Guilherme Franco. The title track “Brazilian Watercolour” is a well-known standard written by Ary Barroso yet Perelman’s interpretation goes way beyond standard samba or Brazilian national music. Along with Ali, Franco and Baptiste, Perelman whips this tune into submission with quick tempered, furious phrasing on top of the colorful rhythmic movements. This CD comprises a series of duets with pianist Matthew Shipp while the other cuts feature Perelman along with the aforementioned rhythm section. On “Ascendant”, Perelman’s phrasing is very animated as he takes extra measures to design or emphasize extended note patterns while Shipp hovers within the lower registers of his piano and mainly comps behind Perelman’s gutsy tenor sax work. Marco & Paulo Sergio Valle’s “Summer Samba” features the rhythm section as this traditional Brazilian samba is deconstructed and reassembled through Perelman’s relentless plethora of ideas and themes. Here, Perelman is like a child who strategically takes apart his brand new Christmas toy in order to see what makes it work. Perelman’s composition “Pal Piteira” is another duet with pianist Matthew Shipp. On this piece, Shipp once again supports Perelman in the lower register by skillfully utilizing giant block chords and a pulsating left hand for rhythmic purposes. Perelman blows rapid -fire notes while frequently hitting the high register as if he were crying for help or trying to plead his case. Ivo Perelman is a bona fide modern jazz stylist and in “Brazilian Watercolour”, he proves his case combining ethnic diversity with enterprising concepts which forms a near perfect union of dissimilar genres. ~ Glenn Astarita https://www.allaboutjazz.com/brazilian-watercolour-ivo-perelman-leo-records-review-by-glenn-astarita.php

Personnel: Ivo Perelman; Tenor Sax, Recorder, Piano: Matthew Shipp; Piano: Rashied Ali; Drums: Guilherme Franco; Percussion, Wooden Flute: Cyro Baptiste; Percussion, Wooden Flute

Brazilian Watercolour

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