With these latest three releases, free form tenor saxist Ivo Perelman has reached the Heinz Ketchup Award for reaching 57 releases. These latest three show why he is a standout among the adventurous horns.
Perelman teams up with drummer Whit Dickey for a tribute to five influential sax players. Obviously, Perelman is not going to try to mimic the sounds of Hank Mobley, Ben Webser, John C Oltrane, Albert Ayler and Sonny Rollins, but what he does with the drummer is to capture the free form essence and marrow of each artist. A rumbling tom tom “Tenorhood” drum solo is the spotlight for Dickey, while Perelman displays a resless swing on “For Mobley” and some wondrous fogy subtones and field hollar sqwacking along with crisp drum work on “For Webster.” “For Coltrane” has the tenor revisiting the patented “sheets of sound” and Dicky goes free while Perelman shrieks and s queezes out notes on an Impulse!-ive “For Ayler,” as Perelman’ captures the living legend’s rough and readiness on “For Sonny.” Tenors anyone?
A free jazz duet dedicated to Maria Callas? Hey! It works! Once again, Perelman, teaming up with pianist Matthew Shipp, tries to capture the essence of various roles the famed Greek opera singer performed. The two discs cover just about every major, and even some minor pieces ranging from a lyrically growling “Lucia” that has thunderus piano work to a wide vibrato that captures gentility with moments of tragedy on “Tosca.” Perelman longs like a bohemian on “Mimi” and cries with a caress on “Noma.” The team does some peek a boo during “Alcest” and the horn flickers like a gypsy camp sight on “Turandot.” Nessun dorma for these fiery arias!
Pereleman brings together a (mostly) trio setting of Joe Morris/g and Mat Maneri/viola for 10 free form sessions. A Pair of duets with Maneri bookend the pieces, with the two jabbing on “Part 1” and scurrying on “Part 10.” In between, the three brood on “Part 2” crate some chip chop chirping on “Part “Part 4” get reflective between cries on “Part 5” The three draw out and scatter as if someone opened a bag of marbles on “”Part 9” and mix waltz with free form on “Part 6.” 10 conversations