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Ivo Perelman

“A modern day saxophone colossus” (Echoes); “The finest improvisational genius of our time” (Bop-N-Jazz); “one of the great saxophone virtuosi and exponents of spontaneous composition to have emerged in the past three decades” (Jazzwise) – these represent just some of the accolades that pour in with each new set of releases by Ivo Perelman. This extraordinary artist continues to map new territory for his chosen instrument, the tenor saxophone. And by regularly releasing multiple albums documenting his explorations, he provides listeners with multiple avenues into his music.

But the release of five albums at once (all available on Leo Records) signifies a herculean effort even for Perelman. What’s more, each of these albums presents a different array of musical cohorts, a different format, and a different concept. “Interestingly,” Perelman notes, “this grouping of albums will feature all of the musicians that I’ve been collaborating with in the past several years”–a list that comprises violist Mat Maneri, keyboardists Matthew Shipp and Karl Berger, bassists Michael Bisio and Joe Morris (who also plays acoustic guitar), and drummers Gerald Cleaver and Whit Dickey.

Three of these albums–the duo discs Corpo and Blue, and the quartet effort Soulwere recorded in a two-week period; they exploit a major theoretical breakthrough that Perelman experienced on an extended stay in Brazil, the nation of his birth. In Autumn of 2015, he traveled to São Paolo to oversee a major exhibition of his work in the visual arts. (Perelman spends approximately half his time producing highly-sought drawings and paintings.) He ended up staying nearly half a year, far removed from the daily grind of his life in New York, and this hiatus “put my brain in a different mode,” he said upon his return. “I got away from the need to ‘achieve’ something. I relaxed.”

He also began to revisit the serialist (12-tone) composers–Arnold Schönberg, Alban Berg, Anton Webern–which led to an important realization. The core tenet of serialism is that each note in the scale exerts equal weight; from that, Perelman focused on the corollary that each interval–the distance between any pitch and the one that follows–should be treated with the same egalitarianism. “The intervallic system has become my dogma now,” he explains in the liner notes to Corpo. “Every interval is of equal importance…I don’t have to be modal, or tonal, or atonal. All the intervals, a third or a seventh or a fifth, these all have the same importance for me now.” This has led to new practice regimens and a corresponding emancipation of Perelman’s already fluid approach to melody as well as timbre.

Corpo, the first album recorded by Perelman upon his return to New York, stars pianist Matthew Shipp, the saxophonist’s longtime musical soul-mate. In 14 tracks of moderate length, the disc offers evidence of Perelman’s new “intervallic system,” as well as a purified distillation of an ever-evolving musical partnership that has been compared to Brubeck/Desmond and Coltrane/Tyner. Says pianist Shipp, in his liner essay for the album: “Corpo is the ultimate coming together of everything Ivo and I have been working on for years. . . . the apotheosis of the Perelman/Shipp duo cosmos. Our [previous album] Callas was a breakthrough for us; Corpo is the ultimate flowering.”

One week after Corpo, Perelman and Shipp returned to the studio; they were joined by bassist Michael Bisio and drummer Whit Dickey to record Soul, which, as its name suggests, constitutes a companion piece to Corpo (the Portuguese word for “body”). More than simply “fleshing out” the Perelman-Shipp duo, the added musicians – whose many sessions with Perelman have given them intimate knowledge of how his music takes shape, in the studio, and without pre-existing blueprints for the improvisations – effortlessly integrate themselves into these performances. “Bisio underscores the music with supple muscle, finding valuable notes in between those that make up Shipp’s chords,” writes liner annotator Neil Tesser, while “Dickey adds color and texture that peer into the swirl of melodies and light them from within.”

Then, one week after the Soul date, Perelman met with bassist/guitarist Joe Morris to record Blue. The album marks the first time Perelman, despite all the shifting contextual landscapes shaping his career, has ever recorded in a duo of tenor sax and unamplified guitar. “With an instrument that has resonance, where the notes have a long decay,” Perelman explains, “you’re always being fed and nourished as the sound remains in mid-air. But with acoustic guitar, the moment that Joe lifts his finger from the string, the sound dies. You’re all alone. So that was the challenge for me, to play with something so soft-spoken.” None of the tracks are actual 12- or 16-bar blues compositions, of course, since nothing was composed prior to what took place in the studio; rather, says the musician/painter, “It has the feeling of the color blue,” in all the variations of that hue.

The Hitchhiker marks another “first” for Perelman; it pairs him with Karl Berger on vibraphone to mark the only time in the saxophonist’s career that he has recorded with that instrument. Perelman first worked with Berger – the pioneering composer and arranger of new music (within and beyond jazz) and co-founder, with Ornette Coleman, of the Creative Music Studio in Woodstock, New York – on Reverie (2014), but on that project, Berger played piano. The vibraphone has a reduced potential for the thick chords available to a pianist, so in that sense, says Perelman, “he’s giving me a condensed scheme” of harmonic potentialities. A possible pitfall? No; it only “made me focus more,” says Perelman.

The final album in this release, The Breaking Point, continues Perelman’s highly successful partnership with violist Mat Maneri, but this time in a quartet format; previous Perelman-Maneri matchups had occurred only in duo or trio settings. “I had in my mind what it would sound like in a more powerful setting, with drums,” says Perelman. With bassist Joe Morris and drummer Gerald Cleaver, the disc constitutes yet one more rarity for Perelman: in his entire discography, this is the third time he has ever employed the “traditional” free-jazz format of bass and drums supporting two front-line melody instruments. In the progression of its seven tracks, the album functions as a sort of expanded symphonic suite.

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Saxophonist Ivo Perelman Set To Perform in Celebration of Five New Releases – July 28 at Manhattan Inn

Saxophonist Ivo Perelman Set To Perform  in Celebration of Five New Releases –  July 28 at Manhattan Inn Thursday, July 28 Performance at 10:00pm   Ivo Perelman – Saxophone Joe Morris – Bass Gerald Cleaver – drums Manhattan Inn  632 Manhattan Avenue New York, NY 11222 Phone: (718) 383-0885   Web: TheManhattanInn.com       Saxophonist …
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Available Now on Leo Records: Saxophonist Ivo Perelman Revisits Classical Techniques After Extensive Traveling in His Native Brazil on Five New Releases

a Available Now on Leo Records: Saxophonist Ivo Perelman Revisits  Classical Techniques After Extensive Traveling  in His Native Brazil on Five New Releases  Corpo, Soul, Blue, The Hitchhiker and Breaking Point  “A modern day saxophone colossus” (Echoes); “The finest improvisational genius of our time” (Bop-N-Jazz); “one of the great saxophone virtuosi and exponents of …
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Saxophonist Ivo Perelman Explores Relationship Between the Senses on Trio of New Releases – “Complementary Colors”, “Villa-Lobos Suite” and “Butterfly Whispers”

AVAILABLE NOW on Leo Records: Saxophonist Ivo Perelman Explores Relationship  Between the Senses on Trio of New Releases –  Complementary Colors, Villa-Lobos Suite  and Butterfly Whispers    Each of the three new recordings from Ivo Perelman – albums entitled Complementary Colors, Villa-Lobos Suite, and Butterfly Whispers (Available October 30 via Leo Records) …
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Saxophonist Ivo Perelman Explores Relationship Between the Senses on Trio of New Releases – Complementary Colors, Villa-Lobos Suite and Butterfly Whispers. Available on October 30 via Leo Records

Saxophonist Ivo Perelman Explores Relationship  Between the Senses on Trio of New Releases –  Complementary Colors, Villa-Lobos Suite  and Butterfly Whispers  Available on October 30 via Leo Records   Each of the three new recordings from Ivo Perelman – albums entitled Complementary Colors, Villa-Lobos Suite, and Butterfly Whispers (Available October 30 via …
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Ivo Perelman Returns to Live Performance in Celebration of Three New Albums “Callas, Counterpoint and Tenorhood” July 17 at Michiko Rehearsal Studios

Ivo Perelman Makes Return to Live Performance in  Celebration of Three New Albums Callas, Counterpoint and Tenorhood  – July 17 at Michiko Rehearsal Studios    Rare Duo Performance with Pianist Matthew Shipp   Ivo Perelman – Saxophone Matthew Shipp – Piano Friday, July 17 Performance at 8:30pm Michiko Rehearsal Studios 149 W 46th St, New York, NY …
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“Perelman favors scorching, high-density free jazz — and he continues to be great at what he does. The explosive spirit of free jazz is alive and well on The Hour of the Star.” – Alex Henderson, All Music

“Love the way the tenor saxophonist steadily recalibrates his blare, enhancing its attack in a rich spectrum of squall and wail, moan and sigh. The advanced articulation is unmistakable on The Hour of the Star, a quartet date with enough verve and turbulence to reveal the music’s particulars.” – Jim Macnie, The Village Voice

“Perelman may well be one of the fiercest tenor players you will ever hear and the most unique. This Brazilian saxophonist, pianist and painter channels his love for visual arts into his musical inspiration to take an avaunt gard approach to a slightly different level – and it works!” – Brent Black, Digital Jazz News

“Perelman’s playing is passionate and explosive, posessed really with an incentive power. An excellent album. Music that is powerfull with it energetic, emotional and intellectual impact. Absolutely stellar and highly recommended.” (Free) Jazz Alchemist

“Inspired by her emotionally charged narratives, Perelman instills this spontaneously conceived date with a contagious ferocity that encourages stellar performances from his veteran sidemen – especially Shipp, one of his most empathetic collaborators.” – Troy Collins, Point of Departure

  • Ivo Perelman - Photo Credit: Michael David Adams
    Ivo Perelman – Photo Credit: Michael David Adams
  • Ivo Perelman - The Hitchhiker - Album Cover
    Ivo Perelman – The Hitchhiker – Album Cover
  • Ivo Perelman - Corpo - Album Cover
    Ivo Perelman – Corpo – Album Cover
  • Ivo Perelman - Blue - Album Cover
    Ivo Perelman – Blue – Album Cover
  • Ivo Perelman - Breaking Point - Album Cover
    Ivo Perelman – Breaking Point – Album Cover
  • pdf
    Ivo Perelman – May Releases – Press Release
  • Ivo Perelman - Soul - Album Cover
    Ivo Perelman – Soul – Album Cover
  • Ivo Perelman 1 Photo Credit: Peter Gannushkin
    Ivo Perelman 1 Photo Credit: Peter Gannushkin
  • Ivo Perelman 2 Photo Credit: Peter Gannushkin-03
    Ivo Perelman 2 Photo Credit: Peter Gannushkin-03
  • Ivo Perelman 3 Photo Credit: Peter Gannushkin-02
    Ivo Perelman 3 Photo Credit: Peter Gannushkin-02

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