Ivo Perelman - Interaction

The Free Jazz Collective 0

Ivo Perelman is prolific and always a willing dare-devil music-wise. The promise in the blurb for this recording was ‘a profound and deeply satisfying experience.’

Perelman is prolific and his many and various works with different musicians in different combinations must surely mean he is on his way to having plumbed the depths of the what and how of playing improvised music. Surely there is little left to bring to the surface? But, as only Perelman can, he surprises yet again – or rather the combination of Perelman on saxophone, bass player Barry Guy, and percussionist Ramon Lopez.

‘Interaction’ (Ibeji) is aptly titled because the musicians communicate and relate in ways that defy expectations, even though those who know Perelman’s continuous output of work already know that ‘expectations’ in music are something Perelman knows little about, preferring to release works that prove he is on a journey of continuum, his voice still developing even after decades, and the musicians he chooses to collaborate with are part of that journey but not the ultimate goal. This was recorded seven years ago in France.

The recording contains some exquisite, masterful phrases, take the early part of the third track (each track, as is Perelman’s oft practiced want, gets a number rather than a title) where the saxophone signs and sighs across the intricate dalliances of bass and percussion, or the beautifully placed bass and throbbing percussion on the sixth track for understanding.

The dynamics are interesting, from Perelman’s cheeky, Punch-like voicings on track seven, to which Ramon replies with some cheeky interpretations of his own, and the use of quiet and space on this recording is engaging. Track seven has almost twelve seconds of (almost) silence) as it ends, for example, and across the recordings, much is made of near-silent episodes that contain whispers of sound. There are also frequent harmonic brushes between the bass and saxophone, as musical pathways cross before diverging.

This recording holds much familiarity from Perelman on tracks, like number eighteen in particular where he transits from free playing to melody and back in the blink of an eye, yet there is also much that is different – and this is typical of Perelman because whoever he plays with, he intuitively leans into the variable tones of their instrument and an understanding of their playing style. There is a sense of equality among the musicians – respect, listening, and waiting for the right place to offer a change of idea, introduce a new direction, and see if anyone follows.

Did the recording meet the promise? Of course, it did. Three musicians, interactive playing, and frequent returns to familiar ground – with added twists to keep the listener engaged. How could this not indeed be a profound and deeply satisfying experience? Perelman once again offers the listener an opportunity to eavesdrop on his continuing journey with improvised music, this time with a little time-travel back seven years – and the journey continues.

The Free Jazz Collective 0

By Don Phipps

The twenty tracks which comprise “Interaction” are nothing short of a tour de force, a rhythmically and musically diverse combustible interplay between three virtuosos – Ivo Perelman (tenor sax), Barry Guy (bass), and Ramon Lopez (drums and tablas). Each track has its own character and musical ambience, and even though the spontaneity of each composition is clear, each remains unique in its emotional and cerebral context, making this an album of substantial merit.

Perelman’s ability to articulate an extreme range of notes allows many of the tracks to take flight – his runs and phrases stretch out like some Evil Knievel motorcycle stunt across a vast canyon. At other times, his playing resembles the twists and turns of a trapeze artist or ice skater who does impossible mid-air maneuvers. Likewise, these sonic maneuvers will keep listeners mouths open and agape. As his lips tighten on the mouthpiece, the music splinters into high squeals and piercing cries, and then, when relaxing his embouchure, his tone recalls the breathy purity of Ben Webster.

Not to be outdone, Guy wields the bass with vengeance, striking deep plucks, full chordal strums, and bowing rapid or legato phrases that both anchor and accelerate. Certainly Guy has more than 10 fingers - or at least that is what his technique suggests. Lopez too, manages to cover the trap set, making use of all the various drums to tie the music together in a loose but definitive context. For example, he will attack the tom toms in a drumming style reminiscent of the late Ed Blackwell or use the cymbals to accent or emphasize various moments in the music. And when he is so moved, he offers up exotic and flashy play on the tablas, bringing a distinct and uncommon coloring to the musical explorations. The combined effect of both Guy and Lopez provides grounding, shifting though it may be, for the leaping articulations of Perelman’s energies.

Take Part 1 Track 6, which might be described as exploring a towering mountain forest. Around each bend is a surprise – a jutting boulder, a stream cascading into a waterfall, large ruts, trees that stretch to the sky, brambles, moss covered trunks, large rock cliffs, vistas. And this diversity is exhibited throughout the album. Part 1 Track 4 vaguely reminds one of Native American chants. Part 2 Track 1 begins with a slow drawl that offers up feelings of a late night out. Part 2 Track 5 creates a climbing intensity that reaches an apex.

Is this album an instant classic? One could make a case. Certainly, in the lexicon of free improvised music, it stands out as a collaborative effort that enables each of the musicians to maximize their virtuosity within conceptual themes which extend the sound of music. Highly recommended.