Ivo Perelman: The Art Of Perelman-Shipp, Volume 7: Dione

The first six discs in Ivo Perelman’s The Art Of Perelman-Shipp series bring together in varying combinations musicians with whom Perelman has worked with in the past. Volume 7: Dione ropes a new player into Perelmans’ orbit, the esteemed drummer Andrew Cyrille. Knowing his work over more than half a century of recording activity, you would fully expect his presence to exert a strong influence on the music, and you’d be spot on with that observation. Perelman himself seems a trifle surprised, telling Neil Tesser that “Cyrille managed to influence our playing and take it to another level.” And as Tesser accurately notes, it’s immensely difficult to determine exactly how Cyrille acts as a “catalyst to quantitatively affect” the relationship between Shipp and Perelman. It’s just something that they felt strongly at the recording session, and that you can feel as you listen to the 8 sections of Dione. Cyrille’s complete mastery of rhythms and time, and his uncanny sense of what to play and when to play it, are in evidence throughout. His playing is often surprisingly delicate, and he repeatedly draws out the gentler side of the Shipp-Perelman axis. That’s not to say that Dione is lacking in intensity, just that there’s more subtlety and nuance in the improvisations than is usually demonstrated on a Perelman session. Favorite passages include Cyrille’s lovely cymbal solo in Part 3, the swirling opening to Part 6 as seemingly disparate parts come together, and the exquisite tension that the trio maintains for all 8 minutes of Part 7. Spend the better part of an hour with Perelman, Shipp, and Cyrille to find the moments that move you the most. You’ll be glad you did.
Leo CD LR 799; Ivo Perelman (ts) Matthew Shipp (p) Andrew Cyrille (d); Brooklyn, NY, November 2016; Parts 1-8; 56:32. www.leorecords.com

Ivo Perelman: The Art Of Perelman-Shipp, Volume 6: Saturn

As Ivo Perelman describes it, his connection with pianist Matthew Shipp “is the core of everything.” The Art Of Perelman-Shipp, Volume 6: Saturn is the only duo recording in this group of seven albums. It represents, in Perelman’s rich metaphor, the planet around which the other six volumes revolve. Saturn, in this case, relates to the astrological concept of the Saturn Return, as explicated by Chris Flisher in a lengthy liner note that follows Neil Tesser’s typically eloquent notes in the booklet for this volume. However one explains the uncanny musical connection that Perelman and Shipp continue to draw upon and develop, there is no denying the seamless improvisatons that the two men are able to spin at every moment. The 50 minutes of this set, spread across 10 sections, find them bouncing ideas back and forth in musical episodes that range from the frantic Part 5 to the ornery call and response of Part 6 to the precarious serenity of Part 8. Shipp’s playing seems more assertive in the duo context than in the trios and quartets that surround Saturn, but that just may be because the piano is more upfront in the mix here. The pair’s music grabs you from the start and never lets go on this deeply exploratory and boldly inventive duet. Heartily recommended.
Leo CD LR 786; Ivo Perelman (ts) Matthew Shipp (p); Brooklyn, NY, November 2016; Parts 1-10; 50:25. www.leorecords.com

Ivo Perelman: The Art Of Perelman-Shipp, Volume 5: Rhea

One year after the trio on Volume 4, Ivo Perelman convened a quartet with Shipp and Bisio joined by drummer Whit Dickey for The Art Of Perelman-Shipp, Volume 5: Rhea. It’s not a format that Perelman usually uses. In fact, as Neil Tesser notes, this is only the eighth entry in the saxophonist’s ever-expanding discography to present a quartet, and four of those have featured the very same players. Tesser write that this lineup, “for all intents and purposes, constitutes the Ivo Perelman Quartet ...” The disc starts with the fierce energy of Part 1, over 16 minutes long and starting with splashy drumming, Perelman revved-up even more than usual, brightly percussive playing by Shipp, and thoughtful, well-paced bass lines from Bisio. It’s a triumph of improvisatory music-making, and as it moves through different zones of expression, a great example of how musicians that are thoroughly familiar with one another’s work can invent a cooperative structure in the moment. The other six sections are almost like a gloss on Part 1, isolating different elements from the long piece for separate investigation. The upbeat Part 3 largely arises on the connection between Perelman’s fire and Dickey’s complex beats, for instance. By contrast, Part 4 is mostly calm and conversational, with a nod to the blues. Bisio manhandles his bass to open the propulsive Part 5, which takes off like a rocket ship and the high-energy intensity never flags. The thrilling Part 6 and the bittersweet Part 7 complete this picture of an Ivo Perelman quartet at the top of its game. Recommended? Of course.
Leo CD LR 798; Ivo Perelman (ts) Matthew Shipp (p) Michael Bisio (b) Whit Dickey (d); Brooklyn, NY, August 2016; Parts 1-7; 53:58. www.leorecords.com

Ivo Perelman: The Art Of Perelman-Shipp, Volume 4: Hyperion

On The Art Of Perelman-Shipp, Volume 4: Hyperion, Ivo Perelman and Matthew Shipp are joined by bassist Michael Bisio. Bisio, who’s been on several previous Perelman sessions, has also played with Shipp since 2010, mostly in a trio format. Where Parker remains calm and collected, even in the most volcanic of musical environments, Bisio brings a more excitable presence to the music. Beginning with the meditative Part 1, the trio digs in for some seriously potent music-making. On this date, Perelman concentrates on his well-articulated altissimo register, frequently leaping from the gruff bottom of his tenor to the “false” notes way at the top. Shipp spends a fair amount of time playing busy filigrees with occasional stabs of dark chords. The ten unnamed sections offer plenty of high drama and ruminative investigations of sound. The pastoral Part 5 is particularly effective. It’s a kind of free ballad, with an unusually introspective Perelman, a rhapsodic Shipp, and tender bass work by Bisio. I’m also quite attracted to the quickly paced Part 9, where Shipp and Bisio mesh tightly and lead Perelman into some remarkable flights of improvisation. Shipp gets two brief tracks all to himself. Part 6 is a thoughtfully slow improvisation that acts like a island of calm within the generally turbulent atmosphere. The similarly soothing Part 10 closes the disc like a lullaby, soothing and sedate. It’s the perfect way to end another absorbing Perelman excursion.
Leo CD LR 797; Ivo Perelman (ts) Matthew Shipp (p) Michael Bisio (b); Brooklyn, NY, August 2015; Parts 1-10; 48:14. www.leorecords.com

Ivo Perelman: The Art Of Perelman-Shipp, Volume 3: Pandora

For The Art Of Perelman-Shipp, Volume 3: Pandora, the Volume 1 trio of Ivo Perelman, Shipp, and Parker is joined by drummer Whit Dickey. Perelman doesn’t often favor the quartet setting, but in this case he’s got what was at one time three-quarters of the David S. Ware quartet as his accomplices. Their pre-existing rapport, when added to the intimate bond that Shipp and Perelman share, results in a tremendously absorbing and exciting session. Especially worthy of note are Shipp’s introspective solo in Part 1 and his tender opening to Part 3, Perelman’s beautifully structured solo in the second half of Part 2, Dickey’s slashing cymbal work in Part 3, the playful duo of Perelman and Dickey as they open Part 5, Parker’s firmly grounded bass on Part 5, the quiet intensity of the entire band throughout Part 4 and their song-like instant composing for the last couple of minutes of Part 5. Another impressive outing for Perelman and associates.
Leo CD LR 796; Ivo Perelman (ts) Matthew Shipp (p) William Parker (b) Whit Dickey (d); Brooklyn, NY, October 2016; Parts 1-6; 58:31. www.leorecords.com

Ivo Perelman: The Art Of Perelman-Shipp, Volume 2: Tarvos

Next up is The Art Of Perelman-Shipp, Volume 2: Tarvos. This series is named for some of the many moons of Saturn, an appropriately celestial reference for the multi-dimensional and otherworldly sounds of Ivo Perelman and his associates. Tarvos is another trio session, with drummer Bobby Kapp as the third man joining Shipp and Perelman. Kapp, who played with musicians like Dave Burrell, Marion Brown, and Gato Barbieri back in the Sixties, made his home in Mexico City for decades. He reemerged on the New York scene in the late Nineties and recorded Cactus, a duo set with Shipp in 2016. The pianist introduced Kapp to Perelman, which led to Tarvos. Perelman says to Neil Tesser, indefatigable liner note scribe for all of Perelman’s Leo albums, that until he met Kapp he’d never found a drummer that, like Perelman himself, “was equally free and equally Brazilian.” Kapp brings a poly-rhythmic ferocity to the music that provokes outbursts like the dense final section of Part 1 or the call and response opening of Part 4. At the same time, when he’s in the mood, Kapp prods the music with a light touch that moves things towards the world of jazz standards. There are moments on Volume 1 where Perelman nods to that tradition with fragments of quotes, and Kapp encourages that tendency. There are a few passages that allude to the 1942 song I’ll Remember April, notably at the tail end of the exuberant Part 5. The track is a delight, with Perelman way up in the altissimo range, Shipp ranging densely all over the keyboard, and a suitably chattering drum part by Kapp. Shipp’s somber piano opens Part 6, Perelman enters in a similarly melancholy mood, and the trio maintains that feeling until the stunning rave-up finish. The nearly 10 minutes of Part 7 open quietly and develop into some of the most fiery playing of the date. Tarvos is another winner in the ever-burgeoning Perelman canon.
Leo CD LR 795; Ivo Perelman (ts) Matthew Shipp (p) Bobby Kapp (d); Brooklyn, NY, October 2016; Parts 1-7; 48:28. www.leorecords.com

Binge Listening with Ivo Perelman: The Art Of Perelman-Shipp, Volume 1:Titan

  The unstoppable, ever-evolving tenor saxophonist Ivo Perelman’s concept is both simple and profound in equal measure. The simple part is inviting musicians to play with him without any preconceived notions of what the music will sound like. The profundity lies in the music-making itself. With the resources to record and release all these encounters with the deep bench of compatible musicians in the New York area, Perelman over the last few years has been astonishingly prolific. It’s hard for this reviewer to keep up, but his work demands attention, and a prolonged exposure to his music is an experience to be savored. So spend a weekend with Ivo and friends: you won’t regret it.

Perelman followed his Art Of The Improv Trio bonanza with another lengthy series of compact discs. The seven discs in The Art Of Perelman-Shipp series feature Perelman in various combinations with pianist Matthew Shipp, with whom he appears to have an telepathic connection. Each set in the series features the pair in different combinations. The Art Of Perelman-Shipp, Volume 1: Titan begins this bonanza with a trio of Perelman, Shipp and master bassist William Parker. Parker has worked extensively with both of them on numerous recording projects dating back to 1996's Cama De Terra, a Homestead Records release by the same trio. Together, this trio makes intensely playful and bold music. The first five sections of this session are relatively short, between 4 and 7 minutes, revealing a range of expression that includes hints of swing in Part 2, the three-way chase of Part 3, and the lyrical and dreamy Part 5. The finale is nearly 20 minutes long, beginning with a graceful and subdued passage with Parker wielding his bow. The music remains alluringly peaceful for a spell, gradually increasing in intensity with the deft interactions. A perfect example of Perelman’s art, and a great way to start a Perelman marathon.
Leo CD LR 794; Ivo Perelman (ts) Matthew Shipp (p) William Parker (b); Brooklyn, NY, October 2016; Parts 1-6; 49:46. www.leorecords.com