The Art Of The Duo, v. 1 inaugurates
a series of recordings (three in all) that feature Perelman and Shipp alone, in
the most intimate of musical settings. In three recording sessions over the
course of two weeks, the saxophonist and pianist created some 40 pieces out of
thin air - all of them completely improvised, with not a note written or
discussed beforehand, in keeping with Perelman's preferred modus operandi. In
doing so, they discard every conventional foundation of traditional music -
chord schemes, predetermined tempo, time signature - and replace them with the
adhesive chemistry of pure sound.
"Two
quite different, possibly incompatible musical personalities?," asks Brian
Morton, co-author of the renowned Penguin Guide To Jazz, in one of the liner
essays for The Art Of The Duet, v. 1. "Two men from whom one can only
expect an interesting collision of philosophies, the one pulling towards
disorder and inclusion, the other tending toward careful winnowing of ideas and
selective presentation of only those which work unambiguously?" Despite
this dichotomy posed by Morton, though, the duo performances attain a rare
cohesion. As Morton goes on to say: "These are not random explorations.
They are not the transcript of a casual and heavily elided 'conversation,' but
are instead the culmination of a long and thoughtful association, which has
marked a singular path of evolution for both artists.
"The
brilliant and scholarly saxophonist Dave Liebman, in his own liner essay,
remarks on this phenomenon as well, writing that "The two communicate at
times as one, totally enmeshed in their dialogue with no preset requirements
except to be in the moment, to be musical and most of all generous in spirit to
each other." Adds veteran music critic Neil Tesser (in the third liner
essay), "There's nothing ethereal about these duets. Just the opposite:
they have structure and purpose that belie the process of completely
spontaneous improvisation. Rather than wisps of smoke, they bristle with flesh
and bone. Without the slightest programmatic conceit, they present concrete (if
unfamiliar) images, crystallized emotions; they exist as sonic sculptures that
prove as irreducible as they are indelible."
Perelman's
vociferous artistic independence might suggest a headstrong, rigidly uncompromising
leader. But throughout his career, he has actually revealed himself to be a
surprisingly flexible and open-minded collaborator. On The Edge, he joins
forces with Shipp's working trio (bassist Michael Bisio and drummer Whit
Dickey) for a set that displays the raw power of first meetings: even though
Perelman has worked separately with the members of Shipp's band, this marks the
first recording in which he encounters the trio as a whole. In this
configuration, Shipp plays an even more pivotal role than he does as a member
of Perelman's own quartet; it is, after all, the pianist's band (whose Elastic
Aspects was named one of the year's 50 best albums in Rhapsody.com's 2012 Jazz
Critics Poll). On
The nine
pieces on The Edge run a gamut, from quiet to forceful and mysterious to
playful, several of them invoking Perelman's command of the saxophone's
squeaky-high altissimo range. On this album, as on the 2012 albums The
Clairvoyant and The Gift, Perelman uses his recent studies of the Baroque Era's
valveless "natural trumpet" to further enhance his almost freakish
facility with this extended range of the saxophone. Through it all, he retains
a lyrical romanticism rarely heard in this range, and which remains a hallmark
of his work.The
aptly named Serendipity employs a radically different approach; taken with The
Edge, explains Perelman, "it typifies what a change in personnel can
originate in creative music." It was originally designed as a trio date with
Shipp and drummer Cleaver. But when one of the musicians was delayed (Perelman
won't say which one), he put in a call to the venerated bassist William Parker,
an old friend and former collaborator, to fill out the trio. But when the
delayed musician also showed up, "It became a quartet recording on the
spot," says Perelman. To accommodate the sudden shift, the album became a
one-track, 45-minute long performance - but one transformed into a remarkably
varied suite, thanks to its mutating themes, transformations of mood, and deep
reservoir of creative energy, replenished again and again by Parker's
unexpected participation.
Serendipity
thus displays yet another aspect of the Perelman-Shipp dynamic, as the two
principal melodists spur and contain an epic quartet free-for-all, so
dramatically separated in tone and intent from the individuated pieces on The
Edge.
Born in
1961 in São Paulo, Brazil, Perelman excelled at classical guitar before finally
gravitating to the tenor saxophone. His initial influences - cool jazz
saxophonists Stan Getz and Paul Desmond - could hardly have presaged the
galvanic, iconoclastic improvisations that have become Perelman's
stock-in-trade. But those early influences helped shape the romantic warrior at
the heart of his most heated musical adventures.
In 1981
he entered Berklee College of Music in Boston, where he focused on the
mainstream masters of the tenor sax to the exclusion of such pioneering
avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane - all of
whom would later be cited as precedents for Perelman's own work. He left
Berklee in 1983 and moved to Los Angeles, where he soon discovered his penchant
for post-structure improvisation; emboldened by this approach, he began to
research the free-jazz saxists who had come before him. In the early 90s he
moved to the more inviting artistic milieu of New York, where he lives to this
day.
