Reviews that mention Ivo Perelman

March 22, 2016

Ivo Perelman/Mat Maneri/Tanya Kalmanovitch

Villa Lobos Suite
Leo Records CD LR 742.

By Ken Waxman

Anyone expecting a performance of Heitor Villa-Lobos’ themes, or even a jazz-like interpretation of the 20th century Brazilian composer’s work, should be flustered. Instead these 10 tracks are instances of Proustian memory extensions: improvisations related to the emotions perceived by Brazilian tenor saxophonist Ivo Perelman when he first experienced Villa-Lobos’ sounds two decades ago. Further indication of its singularity the music is produced by the saxophone paired with two violas played by Mat Maneri and Tanya Kalmanovitch. Alberta-born, Brooklyn-based Kalmanovitch, who teaches at Mannes College, has been in a string duo with Maneri for a decade. Her background is notated and ethnic music helps shape the sounds, informed by the others expertise in microtonality and free jazz. MORE

September 1, 2014

Ivo Perelman

The Other Edge
Leo Records CD LR 699

Grencsó Open Collective

Flat/Síkvidék

BMC CD 205

After about a half a century, so-called avant-garde Jazz is defined differently depending on the players, even if the configuration involved is the standard saxophone-piano-bass-drum quartet. For instance the Hungarian-based Open Collective, led by reedist István Grencsó, performs eight originals wedded to the song form. Meanwhile Brazilian saxophonist Ivo Perelman’s otherwise all-American quartet’s eight originals are on the other edge, exploring almost completely abstract ideas. Each approach is equally valid and memorable. MORE

January 3, 2014

Perelman/Shipp/Dickey/Cleaver

Enigma
Leo Records CD LR 683

The Rempis Percussion Quartet

Phalanx

Aerophonic AR-001

Although the concept of having two drummers as part of an improvising ensemble isn’t a new one, it must be done judiciously so the percussion doesn’t overwhelm the other players. The situation is especially problematic when dealing with as few as four musicians, but both sessions here are organized so that this atypical make-up doesn’t impede creativity.

At the same time each session differ from the other due to the choice of individual chordal instrument. Phalanx, recorded in Antwerp and Milwaukee is held together during four extensive blow-outs by the powerful bass work of Norwegian-turned Texan Ingebrigt Håker Flaten. Together in different configurations since 2004, the percussion part of The Rempis Percussion Quartet is made up of Frank Rosaly and Tim Daisy, both of whom are in-demand on the expanding Chicago improv scene. Dave Rempis, who plays alto, tenor and baritone saxophone on the disc, is best known for his work in the Vandermark5. MORE

December 23, 2013

8th Annual Jazz Critics Poll – NPR Music

Ken Waxman
(The New York City Jazz Record, Jazz Word)

NEW RELEASES

1. Convergence Quartet, Slow and Steady (NoBusiness)

2. Andrew Cyrille, Duology (Jazzwerkstatt)

3. Black Host, Life in the Sugar Candle Mines (Northern Spy)

4. Scott Neumann, Blessed (Origin)

5. Michel Edelin, Resurgence (RogueArt)

6. Ab Baars-Meinard Kneer-Bill Elgart, Give No Quarter (Evil Rabbit)

7. Maria Faust, Jazz Catastrophe (Barefoot)

8. Barry Altschul, The 3dom Factor (TUM)

9. Mark Dresser, Nourishments (Clean Feed)

10. Alexey Kruglov-Alexey Lapin-Jaak Sooäär-Oleg Yudanov, Military Space (Leo) MORE

December 3, 2013

Artist Feature:

Ivo Perelman
By Ken Waxman

“When [Brazilian director] Gustavo Galvão first asked me to do the soundtrack for his film I thought he was crazy,” confesses tenor saxophonist Ivo Perelman, 52. “I said I don’t do that kind of thing and play to cues. I only play my music the way I do.” Yet Galvão, who had made a special trip to New York precisely to get the São Paulo-born saxophonist to create music for his film finally agreed to let Perelman do it his own way with musician of his own choice. Before heading into the studio with violist Matt Maneri and pianist Matthew Ship, Perelman explained the film concept to them, knowing that different moods would emerge as they recorded their improvisations. Titled after the fact, and sequenced into eight tracks, the improvisations now make up the music for the director’s first international feature A Violent Dose of Anything. (Uma Dose Violenta de Qualquer Coisa in Portuguese). Not only is the music preserved on a CD of the same title, but it recently won an award as best original soundtrack at a prestigious Brazilian film festival. Would he do other movie projects? “Introduce me to more people like Gustavo then I’ll do more film music,” jokes Perelman. MORE

September 3, 2013

Perelman/Shipp/Bisio/Dickey

The Edge
Leo Records CD LR 667

Perelman/Shipp/Parker/Cleaver

Serendipity

Leo Records CD LR 668

One of the decisions – of many – that has to be made when playing purely improvised music is whether to break inspiration into bite-sized pieces or eject the narratives as mammoth slabs. On these complementary CDs, Brazilian tenor saxophonist Ivo Perelman, who has recorded in context ranging from solo to septets, tries both on for size. While correspondingly stimulating, the personnel of the two quartets defines the creations more than the instruments used. MORE

September 3, 2013

Perelman/Shipp/Parker/Cleaver

Serendipity
Leo Records CD LR 668

Perelman/Shipp/Bisio/Dickey

The Edge

Leo Records CD LR 667

One of the decisions – of many – that has to be made when playing purely improvised music is whether to break inspiration into bite-sized pieces or eject the narratives as mammoth slabs. On these complementary CDs, Brazilian tenor saxophonist Ivo Perelman, who has recorded in context ranging from solo to septets, tries both on for size. While correspondingly stimulating, the personnel of the two quartets defines the creations more than the instruments used. MORE

May 21, 2012

Ivo Perelman/Joe Morris/Gerald Cleaver

Family Ties
Leo Records CD LR 630

The Ames Room

Bird Dies

Clean Feed: CF 231 CD

Free Jazz has no geography or language as these two CDs of outstanding trio improvisation prove. Seemingly any musician(s) from anywhere can organize an exceptional session just as long as the spirit is there. But that’s the key caveat. For unless the performance includes an indefinable helping of inspiration and cooperation, the results is endless blowing.

The younger group of players who make up the Ames Group understand this and, perhaps pointedly don’t make free expression their only methods of expression. Paris-based alto saxophonist Jean-Luc Guionnet for instance, is not only is involved with electro-acoustic compositions and pieces for organ but he’s one-fifth of Hubbub, France’s most recognizable reductionist band. Confirming the geographic separation, The Ames Room’s other members are Australians who have expatriated to different parts of Europe. Nantes, France-based Will Guthrie, is a percussionist who moves between Rock, Electronica and experimental solo expression; Berlin resident, bassist Clayton Thomas is as likely be found as part of an experimental duo as a big band playing complex arrangements. MORE

January 10, 2012

Ivo Perelman Quartet

The Hour of the Star
Leo Records CD LR 605

Eastern Boundary Quartet

Icicles

Konnex KCD 5258

Carlo De Rosa’s Cross-Fade

Brain Dance

Cuneiform Rune 317

Of all the formations that have characterized improvisation at least since the Bop era, the most common has been that of one reed player along with piano, bass and drums. Just because it’s unexceptional doesn’t mean every session has to be identical however, especially if the meeting ground is original compositions. As these quartet discs demonstrate, plenty of variations are available, even if the form prods participants towards a mainstream orientation. MORE

October 6, 2010

Ivo Perelman/Rosie Hertlein/Dominic Duval

Near to the Wild Heart
NotTwo MW 833-2

By Ken Waxman

As unlike the standard “with strings” session as can be imagined, Near to the Wild Heart is instead a fully interactive date where one trio member happens to be tenor saxophonist Ivo Perelman and the others violinist/vocalist Rosie Hertlein and bassist Dominic Duval. What’s more remarkable is the balance between the discordant and the sensitive maintained as the splintering of string harmonies is mated with newfound lyricism from the Brazilian-born saxophonist. MORE

August 29, 2005

WALLY SHOUP TRIO

Blue Purge
Leo Records CD LR 412

IVO PERELMAN TRIO
Black on White
Clean Feed CF024CD

Exercises in aural color fields, both these trio CDs are helmed by committed improv saxophonists who are also involved in visual art. As well as advancing free music with anyone he can, Seattle-based alto saxophonist Wally Shoup merges the sophisticated with the primitive in his Outsider Art paintings. He created the hard-edged semi-abstract on his CD booklet cover. Meanwhile, Brazilian-born, Brooklyn-based tenor saxophonist Ivo Perelman has been praised more in art circles for his abstract paintings over the past couple of years than he has been for his abrasive free sounds in the so-called jazz world. MORE

May 31, 2004

IVO PERELMAN DOUBLE TRIO

Suite for Helen F.
Boxholder BXH 038/039

Strength, stamina and chutzpah are the first three adjectives that come to mind when analyzing saxophonist Ivo Perelman’s performance on this two CD set.

Coming on like a contestant in one of those extreme sports competitions the Brazilian tenor man not only faces off against one bassist and drummer, but also another set at the same time. Similarly his version of a double trio doesn’t involve any slackers. Individually and together, bassists Dominic Duval and Mark Dresser and percussionists Gerry Hemingway and Jay Rosen have worked with nearly every experimental reedist of repute, including Anthony Braxton, John Butcher, Mark Whitecage, Joe McPhee, Oliver Lake and Frank Gratkowski -- to name just a few. Besides Duval, Hemingway and Rosen have recorded with the saxman before. MORE

January 25, 2001

IVO PERELMAN

The Eye Listens
Boxholder BXH 012

Few people really appreciate the romantic underpinning of the sort of Free Jazz expression that Brazilian tenor saxophonist Ivo Perelman and his two confreres have created on this disc.

As committed to exploration, as was another Portuguese speaker, Vasco da Gama, who was first to sail from Europe to Asia around the Cape of Good Hope, Perelman isn't afraid to give his all every moment. Despite being under 40, he has about as much in common with suit sporting, swing-protecting, neo cons jazzers as the Amazon River does with Long Island Sound.

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