Tag Archives: Ivo Perelman

CKCU FM review by Bernard Stepien

Ivo Perelman / Torbjörn Zetterberg / Daniel Levin – Soulstorm (CF 184)
Brazilian tenor saxophonist Ivo Perelman moved from Sao Paulo, Brazil to Boston in 1981 to study at the Berkley School of Music. Since then, he has been performing and recording both in the US and Europe, namely with pianist Paul Bley and Matthew Shipp. He is known for extreme projects such as his Blue Monk Variations, 1996 where he made a CD exclusively playing Thelonious Monk’s Blue Monk in a solo format. Tonight, we will play his Clean Feed double CD, Soulstorm, that has yet another peculiarity, the band. Pedro Costa, producer of Clean Feed offered Perelman to be recorded, but Perelman after accepting the offer told Pedro Costa to find the sidemen. On top of the fact that this project has been achieved with a band that never played together before, the choice of instruments is also out of the ordinary and did not deter Perelman from further engaging. Bass, Torbjörn Zetterberg and Cello, Daniel Levin perfectly blends in with the low register by definition of the tenor. The result is stunning. The conclusion: who needs drums in Jazz? Also, that story is in sharp contrast with the traditional picture of too marketing oriented producers of major labels that are notorious for steering musicians off their holy missions.
http://cod.ckcufm.com/programs/95/4318.html

Sobre Soulstorm de um Fan no Porto

Soulstorm é colossal; se a forma é aparentemente vulgar, cresce depois a linguagem singular de uma sonoridade exemplar, um ímpeto arrebatador, um fraseado único na sua essência e elegância, em que torrentes de conteúdo invadem todo o espaço, ideias claras e coerência no desenvolvimento das mesmas, ainda que nada se perca na frescura e espontaneidade da apresentação do dicurso: divinal, nada é repreensível,  e um crescendo vai abrindo portas ao infinito;: uma obra prima; à décima audição a surpresa ainda parece crescer… quem fala assim…: VIVA O SOULSTORM – a frescura da Primavera erm todo o seu esplendor, um respirar profundo de polens perfumados e fecundos, a alma a transbordar. Obrigado Ivo, Levin e Zetterberg.
Por João Ambrósio

Estadão feature on Ivo Perelman by Roberto Muggiati


Ivo viu a maçã. Primeiro, mordeu A Grande Maçã – como os jazzistas chamam Nova York. Depois, leu A Maçã no Escuro, de Clarice Lispector. Radicado há mais de 25 anos nos Estados Unidos, o saxofonista brasileiro Ivo Perelman teve a ideia ousada de lançar recentemente quatro CDs baseados na obra de Clarice. Nascido em São Paulo há 50 anos, filho de polonês e russa (professora de piano clássico), aos nove anos Ivo era já um prodígio do violão, tocando de Bach a Villa-Lobos; aos 15, experimentou violoncelo, piano, trombone e clarineta, até se encantar pelo som vigoroso do saxofone tenor, que o levaria finalmente a Nova York, com escalas no Canadá, em Israel e Los Angeles. O álbum inaugural, Ivo (1989), com a participação dos brasileiros Flora Purim, Airto Moreira e dos americanos John Patitucci (baixo) e Peter Erskine (bateria), escancarou para ele as portas de uma carreira vitoriosa. Em 21 anos, Ivo já lançou 37 álbuns – uma proeza até para músicos de jazz americanos.
Ivo Perelman é um músico que pensa. Além de iniciar uma carreira paralela de artista plástico, com exposições em várias cidades do mundo, colocou no papel algumas reflexões sobre sua atividade principal: o jazz. “Essa tem sido a maior dádiva que recebi do processo artístico. Um sentimento quase religioso de fé nos mecanismos naturais que regem o cosmos. Improvisar é brincar de ser Deus e perpetuar assim o impulso criativo do universo.”
O tributo a Clarice surgiu quando, ao ouvir textos da escritora em saraus literários de Nova York, se aprofundou na leitura “e alguma coisa me emocionou.” Nenhuma influência das raízes judaicas comuns, esclarece. (Clarice nasceu em 1920 na Ucrânia, quando a família fugia da perseguição aos judeus na Guerra Civil russa.) Em sua releitura de Clarice, Ivo inspirou-se apenas na obra da escritora. Ele opera em dois contextos distintos: em Near to the Wild Heart (Perto do coração selvagem) e Soulstorm (CD duplo, cujo título vem de uma edição de contos em inglês), contrapõe seu saxofone a dois instrumentos de cordas – violino e baixo no primeiro; cello e baixo, no segundo. Em The Apple in the Dark (A Maçã no Escuro) e The Stream of Life (Um sopro de vida), Ivo joga o sax contra a bateria de Gerry Hemingway e Brian Willson, respectivamente. Como novidade, The Apple traz Ivo também ao piano em seis das dez faixas – um piano ora concreto e bartokiano, ora impressionista e jobiniano, num contraste lírico com o implacável free-bop do tenor, que evoca o Coltrane da fase mais gutural e raivosa. Dos CDs com baterista, Bill Meyer, da revista down beat, diz que “ambos são expressões envolventes e frequentemente emocionantes de um espírito inquieto e criativo.” Já sobre o trabalho do sax com cello e baixo, escreve Jason Bivins, da Signal to Noise: “A música evolui com muita urgência, os intérpretes se fundem maravilhosamente (…) A química é superlativa.”
Existe algum sopro de Clarice nesta empreitada? O título de algumas faixas pode indicar que sim: The Apple in the Dark, Indulgences, Green Settings, The Way of the Cross, Lisboa. Ivo garante que não foi sua intenção fazer uma tradução musical de Clarice. “Sua obra surge como uma amálgama de que brotam os sons, numa visão bem pessoal e abstrata do músico.” No erudito, a música programática, ou descritiva, teve seus momentos – um caso extremo são os canhões da Abertura 1812 de Tchaikovski. No jazz, existem tentativas, principalmente de Duke Ellington, que em 1957 fez um belo álbum baseado em personagens de Shakespeare, Such Sweet Thunder. Ouvir esse tributo a Lispector exige concentração e tempo – cada vez mais raro em nossos dias. Afinal, são 5 horas e 16 minutos de audição. Uma novidade para aqueles que conhecem o trabalho de Ivo é a nova atenção que ele dá ao som do saxofone em si, à exploração das suas alternativas de timbre. É o que ele chama seu “projeto maluco”, o de soprar regularmente uma série de saxofones sem chaves e sem furos, que construiu com a ajuda de um artesão brasileiro. O instrumento sem dedilhado só tem capacidade de emitir uma mesma nota, “o som puro”, segundo Ivo, a ser trabalhado incansável e obsessivamente pelo sopro. O que Clarice chamaria “um sopro de vida.”
ROBERTO MUGGIATI É PESQUISADOR, ESCRITOR E SAXOFONISTA.
http://www.estadao.com.br/estadaodehoje/20110122/not_imp669503,0.php

Spiritual Archives Best 0f 2010 List

New edition of the “Best Of The Year” list. What follows is a selection (according to the tastes of this blog), as accurate as possible (no pretense of completeness), obtained from thousands of albums listened to in 2010.
It includes music of different (in some cases quite distant) areas: minimalism, modern jazz, radical improvisation, ambient, works built on field recordings, folk and so on, with the intent of searching for innovative features or strong emotional reactions every time we deal with a new release.
Most of the labels mentioned in previous posts are represented, there’s also a large number of highly esteemed composers / (sound)artists / improvisers.
As usual, if you want to make your preferences known, use this email address: ucro23(at)gmail(dot)com
Thanks for your interest.

Alphabetically sorted…
Alípio C Neto & Thelmo Cristovam – Triatoma Infestans (Creative Sources)
ANBB – Ret Marut Handshake (Raster-Noton)
Anne Guthrie – Standing Sitting (Engraved Glass)
Ap’strophe – Corgroc (Another Timbre)
Arkhonia – Trails/Traces (White Box)2
Baby Dee – A Book Of Songs For Anne Marie (Tin Angel Records)
Ballister – Bastard String (PNL Records)
Ben Owen – 05012009 FP (Self-released)
Boris Hauf & Adam Sonderberg – Schamlos 0202 (Homophoni)
Celer – The Die That’s Caste EP (CONV)
Christopher McFall – The Body As I Left It (Sourdine)
Dawn Of Midi – First (Accretions)
Decoy & Joe McPhee – OTO (Bo’Weavil)
Eleh – Location Momentum (Touch)
Eric La Casa – W2 [1998-2008](Herbal International)
Ernesto Diaz-Infante / Manuel Mota / Gino Robair / Ernesto Rodrigues – Our Faceless Empire (Pax Recordings)
Fabio Orsi – Winterreise (Slow Flow Rec)
Francisco López – Amarok (Glacial Movements Records)
Graham Lambkin & Jason Lescalleet – Air Supply (Erstwhile)
i8u – 29 Palms (Dragon’s Eye Recordings)
Isaiah Ceccarelli – Bréviaire D’épuisements (Ambiances Magnétiques)
Ivo Perelman / Daniel Levin / Torbjörn Zetterberg – Soulstorm (Clean Feed)
Jason Ajemian’s Daydream Full Lifestyles – Protest Heaven (482 Music)
Jemeel Moondoc – Muntu Recordings (NoBusiness Records)
Kevin Parks & Joe Foster – Acts Have Consequences (Self-released)
Kyle Bobby Dunn – A Young Person’s Guide To Kyle Bobby Dunn (Low Point)
M. Bassett & J. Gräf – Peradam (Utech Records)
Magda Mayas – Heartland (Another Timbre)
Michael Pisaro & Barry Chabala – Black, White, Red, Green, Blue (Voyelles) (Winds Measure Recordings)
Michael Santos – Memory Maker(Home Normal)
Moniek Darge – Crete Soundies (Kye)
MUTA – Bricolage (Al Maslakh)
Nicholas Szczepanik & Juan José Calarco – Lack Affix (Unfathomless)
Nos Phillipé – Nos Phillipé (Black Atlas)
Nurse With Wound & Larsen Featuring Fritz Müller – Erroneous: A Selection Of Errors (Important Records)
offthesky – Du Soleil (Resting Bell)
Olivia Block & Kyle Bruckmann – Teem (either/OAR)
Pascal Battus & Christine Sehnaoui Abdelnour – Ichnites (Potlatch)
Paul Dunmall & Miles Levin – Miles Above (Duns)
Pjusk – Sval (12K)
Rafi Malkiel – Water (Tzadik)
Richard Chartier – A Field For Mixing (Room40)
Scott Colley – Empire (CAM Jazz)
Seth Nehil – Furl (Sonoris)
Sohrab – A Hidden Place (Touch)
Stasis Duo – Stasis Duo (L’innomable)
Stephen Cornford & Samuel Rodgers – Turned Moment, Weighting (Another Timbre)
Sylvain Chauveau – Singular Forms (Sometimes Repeated) (Type Records)
Thierry Lang – Lyoba Revisited (ACT Music)
VV.AA. – Physical, Absent, Tangible (Contour Editions)
Xavier Charles – Invisible (SOFA)
Yannick Dauby – Overflows (Sonoris)
Zed Trio – Lost Transitions (Ayler Records)
http://spiritualarchives.blogspot.com/2010/12/2010-favorites.html

Jason Weiss’ (Improjazz) Best of 2010 List

1. Steve Lacy: November (Intakt)
2. Lee Konitz-Chris Cheek-Stéphane Furic Leibovici: Jugendstil II (ESP-Disk)
3. Jacques Coursil: Trails of Tears (Sunnyside)
4. Ivo Perelman-Daniel Levin-Torbjorn Zetterberg: Soulstorm (Clean Feed)
5. Ideal Bread: Transmit: Music of Steve Lacy (Cuneiform)
6. Jonas Knutsson: Blåslåtar (Country & Eastern)
7. Frank Carlberg: Tivoli Trio (Red Piano)
8. Ran Blake & Christine Correa: Out of the Shadows (Red Piano)
9. Sam Sadigursky: The Words Project III: Miniatures (New Amsterdam)
10. Nels Cline Singers: Initiate (Cryptogramophone)

Signal to Noise review by Jason Bivins

Ivo Perelman / Brian Wilson – Mind Games (Leo Records)
Ivo Perelman / Gerry Hemingway – The Apple in the Dark (Leo Records)
Ivo Perelman / Daniel Levin / Torbjörn Zetterberg – Soulstorm (CF 184)
One of the great things about Ivo Perelman’s recent increase in activity is hearing him with all these hot drummers! Like many tenorists – hell, like many duo partners – he’s always been particularly energized by rhythmic urgency, whether that of his native Brazil on Ivo or that of Rashied Ali, for example. On his recent ace trio release Mind Games, his communication with percussionist Brian Wilson was almost telepathic. So it was a real treat to hear just the pair of them on Stream of Life. The brief, skittering, playful title track opens things up, and it gives you a sense of how emotionally wide-ranging this duo is – not just the heavy intensity you often get in free improv (though there’s plenty of that there) but also a masterful swing (“Clarice,” where Ivo’s tone is just so luxurious, just listen to him hold that note at the end!). They sound so patient and scalar on “Agua Viva” and on “Murmirios,” and at times it’s like listening to an Ayler march played by Ben Webster. Wilson is fond of brushes and subtly shifting patterns, almost Blackwell-like at times, but then he’s likely to let loose a sudden swell or cymbal aside or breakdown. He reveals himself cautiously, a spare player who speaks volumes, as on the patient click and clang of tuned percussion at the end of “Juntos Para Sempre,” which flirts mischievously with samba. There’s a beauty of a Perelman solo on “A Bola e o Menino,” where he explores long passages of circular breathing, slowly modulating phrases from the inside out, before retreating into hushed, almost cooing lyric lines. But it’s the sense of fun and discovery these two share that lingers longest in the memory, nowhere more so than on the playful folk dance “After the Third Wall.”

The duo with Hemingway is altogether different, not just because of Hemingway’s distinctive (more emphatic) rhythmic language but because several tracks feature Perelman’s piano playing. It’s overall still quite a restrained recording, at least by the standard of those who expect Perelman to breathe fire all the time. But even so, there’s an emotional urgency to his saxophone lines when set against the brisk patter of Hemingway’s brushes on the opener and thereafter. There’s great chemistry between the two on the conversational “Indulgences,” the patterns of “Sinful” which rise ever upward, and the semi-funked up closer “Lisboa.” But the treat is to hear Perelman’s reflective, at times spidery piano playing on several cuts, notably “A Maca No Escuro” – it sounds almost like an abstract Herbie Nichols tune. On “Vicious Circle,” they flirt with rhythmic shapes that – deep in the grain of Perelman’s piano phrasing – could almost be lifted from some traditional materials. And after the gorgeous and extremely spacious Hemingway solo on “The Path,” Perelman follows with pianism that buzzes with Borah Bergmann-like intensity. These terrific performances hint and gesture to familiar sources, but they leave your imagination to do its thing.

Finally, Soulstorm is a marvelous two-disc document of a meeting between Perelman, cellist Daniel Levin, and bassist Torbjorn Zetterberg. Pedro Costa’s notes reveal that, on their first meeting just before the recordings, there was a slightly tentative air to the music. Well, that’s absolutely nowhere to be heard on these extremely empathetic, emotionally rich improvisations. Perelman sounds so very searching on “Plaza Maua,” which is a dilly of a start to this two-hour ride. I certainly enjoy hearing his creativity without a percussionist here, and there are enough ideas – especially from the fabulous Levin, with whom he is currently doing some followup recordings – that the music moves forward with plenty of urgency. The players merge beautifully, not just in terms of line or even tone but also phrasin g and articulation of notes. The chemistry is superlative. Zetterberg is in some ways the ace in the hole here. He’s got this growl in the lower register, and his playing positively throbs in several wild duo features with Levin as well as in the counterpoint that surges everywhere. They can sing and swing heavily, though, as on “Dry Point of Horses,” where Perelman’s intervallic, lyrical playing is fantastic. And there are several points throughout these sets where, in the midst of boiling heat, he responds to a fragment or idea by taking an abrupt (but so fitting) left turn, either cooing like soft bird or getting all Johnny Hodges. Freaks for arco and melismatic playing will drool at “A Manifesto of the City,” and those who dig it languorous and reflective will love “Day by Day” and “In Search of Dignity.” But regardless of where the music is headed, even in moments of peak intensity (especially “The Body”), there is space; even at its outest, the music is lyrical. Top notch.

All About Jazz New York review by Clifford Allen

The cello is, like the bass clarinet, now something of a regular axe in the arsenal of creative music. Players like Fred Lonberg-Holm, Ernst Reijseger, Okkyung Lee, Glynis Lomon and Erik Friedlander’s extraordinary differences fill the palette. One can add New York-based cellist Daniel Levin to that mix.

Bacalhau (CF 195) is the second live recording of Levin’s quartet to be released on Clean Feed and finds the leader in conversation with trumpeter Nate Wooley, vibraphonist Matt Moran and bassist Peter Bitenc on nine pieces recorded at the 2009 Jazz ao Centro Festival in Coimbra, Portugal. Though the quartet might seem to operate on the side of ‘chamber improvisation’, such a judgment is quite far from the group’s reality, supported as it is by Bitenc’s meaty, solid pizzicato. Importantly, the quartet is an extraordinarily cooperative group – a band – and as a result, the leader is absent on one track. Though brief, this duo between Wooley and Moran (“Duo Nate and Matt”) serves to assert this unified singularity, presenting circularbreathed swaths and dashes of bowed lamella in a commingling of tones that both echo and result from electronic manipulation.  Following is a quartet piece, “Bronx #3”, that sets Levin in an internal call-and-response supported by the bassist’s walk, soon joined by the crisp, sputtering fragment/mass of Wooley’s trumpet in a detailed,  blustery fracas. Moran and Bitenc are cool counterpoint, measured motion and accent in relief to shouted and strung volleys. A slight holler enters into Levin’s unaccompanied opening to “Dock”, a bluesy stretch and gentle pluck anchoring this fragment before the lilting, simple theme enters and is followed by a river of mobiles from Moran’s vibes. A chunky repeating bass figure opens “P’s Jammes”, leading into postbop brass pirouettes and elongated arco snap. Metal, wood and string fold into one another and just as quickly disperse in recanted comments.

Soulstorm (CF 184) brings Levin together with tenorman Ivo Perelman and bassist Torbjörn Zetterberg on a two-disc set of trio improvisations. While the presence of heavy-hitting tenor might signal thoughts of a typical power trio, this threesome is decidedly different. The presence of Levin also speaks to Perelman’s history, for he’s also recorded doubling on cello. The set is divided into a studio and a live disc, with all pieces collectively improvised. What’s paramount in this set is the way in which Perelman and Levin work together. Rather than crisp exercises in contrast, they draw from a similar palette, long lines of burnished vocal tenor dovetailing with a fine, meaty drone and liquid crags. Perelman plays the tenor soft and thick, spry and swirling with material hue. Levin’s arms and bow match fingers and keys complementarily, his jousts a hum of declamatory gestures. Though it’s clearly a show for reed and cello, Zetterberg adds a constant foundational undercurrent; rather than matching wits with Perelman and Levin’s fluttering buzzsaws, he’s a quietly creative motor. With surges of raw emotion and humanist abstraction, Soulstorm presents a heady brew even in the sparsest moments.
http://www.aaj-ny.com/issues/aaj_ny_201010.pdf