Ivo Perelman

Bypassing the real definition of trifecta where the bettor must correctly pick the first, second, and third-place horse race finishers in exact order, Brazilian tenor saxophonist Ivo Perelman instead sets up this musical derby duets with three progressive American guitarists whose styles are different so that all end as winners. The three are Marc Ribot (CD1), Elliott Sharp (CD2) and Joe Morris (CD3), who collectively or separately have worked with musicians from many fields including Ches Smith, Henry Grimes, Matthew Shipp, William Parker, Carl Stone and Charlotte Hug.

As the numbered duos evolve the tenor saxophonist extends, expands and experiments with timbres and techniques. Still the majority of his playing is a variant on his realized style, honed over many years of playing with nearly every figure in the international improvised music community. Taken as a whole, the guitar strategies are varied. Sharp’s strokes are the most strident and dissident; Ribot’s the warmest and vibrant and Morris’ the most melodic and almost delicate. Of course none would ever be confused with Jim Hall, Pat Metheny or Joe Pass.

While “Ivo/Ribot One” may include restrained elements that could slide into a gentle Bossa Nove groove at points, the saxophonist’s corrosive slurs and up the scale squeaks and split tone huffs toughen the interface so by the conclusion the guitarist speeds up his part with multi-string emphasis, ringing frails and eventual string hammering.

This responsive formation continues during the other tracks. The two may occasionally simultaneously hit the same note, but Ribot’s internalization of Rock, Blues and Folk timbres from Country Blues to Harmolodics swiftly isolates his position whereas Perelman’s is attached to Free Jazz evolving into Free Improvisations. When on “Ivo/Ribot One” Ribot’s collection of clenched string shakes and continuous strums may open up to electric flanges and drones, his timbral extensions come from a divergent conception than Perelman’s no matter how often they intertwine. The saxophonist’s reflective sopranissimo squeals, flattement and doits are often created with circular breathing and unbroken lines. Notable in counterpoint, Ribot’s clenched twanging when emphasizing pressured movement still include a tranche of Jazz-like euphony which the saxophonist has transcended.

A similar contrast can be sensed on the five Perelman-Morris duets. Throughout, the guitarist’s fallback is finger picking a sort of progressive melodic variations. There’s even a point on “Ivo/Morris Two” where the two briefly attain a straight-line reflection even though their expositions are parallel rather than connected. The guitarist’s frails either challenge or coast, but his constant strumming that reflect mid-range moderation are nothing like the saxophonist’s frequent tongue stops, altissimo whistles and swoops. Elsewhere Morris has space to focus on his continuous finger-style patterning and low-pitched strums. Yet the only real concurrence comes during those heated tonal variables where it seems as if neither will ever stop playing.

Meanwhile the seven Perelman-Sharp duets are the most sympatico with the guitarist’s technique allowing him to constantly vary his output. Not only are expected guitar riffs heard, but string stretches that suggest bass guitar crunches at one extreme and mandolin-like clips at the other. Metallic resonations and slides also animate Sharp’s playing, while Perelman responds in kind propelling extended squeals, smears, moans and cries. Pressurized guitar resonations created with stop-time inferences on “Ivo/Elliot Three” for instance  bring out forward moving unbroken altissimo cries from the saxophonist. Elsewhere slurry organ-like string reverb is met with thin yelps, while Sharp extends his pressure with intricate strums below the guitar’s bridge.

Crucially as well on the elongated “Ivo/Elliot Six” somehow the two manage to attain a calliope-like pitch between them constructed from continuous flutter tonguing and trilling from the saxophonist and a running collection of robust responsive thumps, pops and spills from the guitarist.

Those who have long followed Perelman’s chameleon-like career will be interested in this album. So will those who know the work of any of the guitarists. As well anyone interested in modern guitar/saxophone interface should investigate this Trifecta as well.

–Ken Waxman

Track Listing: CD1: 1. Ivo/Ribot One 2, Ivo/Ribot Two 3. Ivo/Ribot Three 4. Ivo/Ribot Four 5. Ivo/Ribot Five CD2: 1. Ivo/Elliot One 2. Ivo/Elliot  Two 3. Ivo/Elliot Three 4. Ivo/Elliot Four 5. Ivo/Elliot Five 6. Ivo/Elliot Six 7. Ivo/Elliot Seven CD3: 1. Ivo/Morris One 2. Ivo/Morris Two 3. Ivo/Morris Three 4. Ivo/Morris Four 5. Ivo/Morris Five
Personnel: Ivo Perelman (tenor saxophone) and Marc Ribot [CD1], Elliott Sharp [CD2]) or Joe Morris [CD3] (guitars)