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| The Seven Energies of the Universe |
| Ivo Perelman |
| első megjelenés éve: 2001 |
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| (2001)
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CD |
| 4.391 Ft
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| 1. | Passion
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| 2. | Fruition
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| 3. | Conversion
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| 4. | Living and life
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| 5. | Maleness
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| 6. | Femaleness
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| 7. | Endlessness
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Jazz / Modern Creative, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
Recorded at Hillside in April 1998.
Ivo Perelman, tenor saxophone
Joseph Scianni, piano
Jay Rosen, drums
Front cover painting by Ivo Perelman.
Recorded in 1998 with Joseph Scianni on piano, Jay Rosen on drums and Ivo Perelman on tenor sax. Liner notes for this CD have been written by Eleanor Heartney, New York based art critic and contributing editor to Art in America. Why? What does an art critic have to do with sounds? It transpires that Ivo is an artist whose paintings are beginning to find the way into the galeries. We are printing three of his colour paintings in the booklet.
The album's theme is referenced in the title: the "seven energies" of the universe derived from the Jewish Torah. As with Perelman's other recordings to date, this one is jammed with ecstatic energy, the highlight being the more than 20-minute "Fruition," in which the saxophonist packs his usual full-throated voice with a monumental punch. The unsung pianist Joseph Scianni, although not as intense as Perelman, offers a sophisticated and complex harmonic conception, one alternately romantic and cryptic, which fits perfectly. Longtime colleague Jay Rosen continues his successful synergistic relationship with Perelman, with unobtrusive yet propelling drumming. Each of the tunes is named after one of the "seven energies," and the last two in particular, "Femaleness" and "Endlessness," reveal a more subdued side to the saxophonist's playing than he usually shows. While this album does not break any new ground, it continues the consistently high quality of musicianship that Perelman has always evidenced. It may not attract converts to his music, but it should easily satisfy the already committed. Added bonuses are the beautiful reproductions of two of the saxophonist's pieces of abstract art in the CD leaflet, and the probing liner notes by art critic Eleanor Heartney. ~ Steven Loewy, All Music Guide
Ivo Perelman
Active Decades: '90s and '00s
Born: Jan 12, 1961 in Sao Paulo, Brazil
Genre: Jazz
Styles: Modern Creative, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
As of 2001, tenor saxophonist Perelman had put out in the neighborhood of 20 albums as a leader since his recording debut in 1989. A remarkable number, considering Perelman plays a kind of music (free jazz) that has almost no viability as a commercial product. How he managed to convince so many small, independent labels to record him with such great frequency is a mystery. It's not that Perelman is not a fine player -- he plays well in the heavily distorted, abstract-expressionist vein first tapped in the '60s by the late Albert Ayler -- but there's little to separate him from contemporaries like Elliott Levin, Ken Simon, or a host of other stylistically-similar tenor players who have received far fewer opportunities. Perhaps it's the company he keeps; Perelman has had the good sense and abundant resources to hire top players to play on his records. His first album, Ivo (K2B2, 1989), featured an all-star cast that included drummer Peter Erskine, bassist John Patitucci, percussionist Airto, and vocalist Flora Purim, among others. As his career progressed, Perelman recorded often with players of the avant-garde; he's made albums with the bassist Dominic Duval, pianist Borah Bergman, drummers Rashied Ali and Jay Rosen, pianists Marilyn Crispell and Matthew Shipp, and guitarist Joe Morris, to name a very few. Perelman played classical guitar, cello, clarinet, trombone, and piano while growing up in Sao Paulo. At the age of 19 he adopted the tenor saxophone as his primary instrument. After coming to the U.S., he attended the Berklee School of Music in Boston for a semester before dropping out (Perelman is purportedly a mostly self-taught, instinctive player; it's not hard to imagine the problems he might have had in a regimented music education system). Perelman's travels took him to Los Angeles in 1986, where he studied privately and performed. Not long after the release of his first album in 1989, Perelman relocated to New York and began recording a series of albums on such labels as ITM,Enja, Ibeji, Homestead, CIMP, Cadence, and Leo. Perelman is noted for combining simple Brazilian folk themes with the techniques of free jazz; in 1997 he did the same thing with Jewish music, making En Adir: Traditional Jewish Songs for the Music & Arts label. Later, Perelman has recorded a series of duets with the aforementioned Bergman, Rosen, Morris (with Perelman on cello), and Crispell. It should be said to Perelman's credit that, while he may not be a terribly innovative or even distinctive player, he is a passionate artist who conveys a great depth of feeling through his music.
--- Chris Kelsey, All Music Guide |
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