(Free Jazz) Ivo Perelman Double Trio - Suite For Helen F. (2CD) - 2003, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 8. September 2011, 11:33
Ivo Perelman Double Trio / Suite For Helen F. (cd1)
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==== Log checksum 6438D5D09AF2046C29B94D3EF8C491212B60E32F2CA2A756330E42821E207456 ====

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 8. September 2011, 12:08
Ivo Perelman Double Trio / Suite For Helen F. (cd2)
Used drive  : Optiarc DVD RW AD-7240S   Adapter: 2  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
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==== Log checksum 796FFFD1684948F311025887F904EB6090A7668B989A7FB6136721F9C7882DEF ====

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Recorded in March 2002 at Hillside Sound Studios, Englewood, New Jersey. Mastered in January 2003 at Masterdisk Studios, New York.

Brazilian saxophonist Ivo Perelman started his musical life as a classical guitar prodigy, before switching to the tenor in his teens in search of an instrument that would provide him with his authentic musical voice. Jazz studies at Berklee didn't work out, and the story goes that Perelman's Coltrane-esque habit of taking 20 minute solos didn't endear him to his bandmates at L.A. jam sessions.
Since then, Perelman has turned out a series of albums that range from fusionesque readings of Brazilian folk songs with the likes of Airto Moreira and Peter Erskine to a series of free improv albums on the esteemed Leo label. Some of these have featured Perelman's cello and guitar, and of late he's concentrated on a career as an abstract painter. Although this was partly a consequence of problems resulting from his very physical approach to the saxophone, it's a sign that maybe his search for a creative voice is still ongoing.
This album sees him back on tenor with a heavyweight cast of rhythm players; in the blue corner we have Anthony Braxton's classic rhythm section of Mark Dresser and Gerry Hemingway; in the red corner Dominic Duval and Jay Rosen on bass and drums respectively.
This is Perelman at his most fiery, yet like the best free jazz tenors, his playing is shot through with a tenderness that stays just the right side of sentimentality. His heavily vocalised tone has put some in mind of Albert Ayler, and while there's a similarity in some of his keening, doleful lines, he's in no way a copyist. His fondness for extreme, false register effects coupled with folkish, stately lines is more reminiscent of Impulse-era Gato Barbieri at his most inspired.
Though all the compositions are credited to Perelman, this is basically a collectively improvised music. The tunes are like calls to prayer; a gathering of forces, setting out germs of ideas to be explored or ripped apart in the improvisations that follow. Basses and drums generate a steady flow of ideas and punctuations underneath the skyscraping intensities of the leader's incantory screams and howls, but rarely mark time as such.
The CD sleeve sports reproductions of Ivo's paintings. It's tempting to see parallels between their rich, expressionist daubs and the emotionally charged abstractions of Perelman's restless muse. Halfway through CD2 you might start to feel a little punch drunk, but there's an almost redemptive power in this living, breathing music if you're prepared to let it do its stuff.

From cave pictograms and frame drums to free jazz and the Abstract Expressionists (AE), the visual and aural arts have long had a symbiotic relationship. Jackson Pollock’s “White Light” served as the cover art to Ornette’s Free Jazz, after all. Some artists have even tried their paint-stained hands at making music themselves. Witness German artist/drummer A.R. Penck who teamed up quite frequently with New York free jazz movers and shakers like Frank Lowe, Frank Wright and Billy Bang. More recently there’s Brooklyn based painter/guitarist Jeffrey Shurdut who’s been churning out cross-disciplinary collaborations on his own self-produced label. Various veteran improvising musicians have also dabbled in the tangible arts over the years, but few, if any, have found the success visited upon saxophonist Ivo Perelman.
Perelman’s induction into the international art community came at a time when, like most of his peers, he was struggling just to pay the rent and put food in the cupboard. The reality that the sale of a single painting could eclipse the earnings of a year’s worth of busking and gigging became a lure impossible to resist. Music took a back burner as his energies turned full time to the brush. Fortunately he hasn’t abandoned his horn completely and there have been periodic returns to his original creative conduit: The Eye Listens (1999), The Seven Mysteries of the Universe (2001), and The Ventriloquist (2002). Suite for Helen F. registers as the latest and it’s an archetypal instance of a musician making up for lost time. The set is Herculean both in terms of size and sonic density. Dedicated to fellow AE painter Helen Frankenthaler, the seven parts collectively clock in at over a hundred minutes. Perelman attaches a corresponding painting to each section and the set’s accompanying sleeve booklet includes reproductions of them all.
Perelman’s chosen collaborators have long histories working in rewarding collusion. Bassist Dominic Duval and drummer Jay Rosen are the glue to CIMP and Cadence Jazz sessions numbering well into the double digits. Mark Dresser and Gerry Hemingway, on the same respective instruments, rank most famously as two-thirds of the chosen ‘rhythm’ section of Anthony Braxton’s classic quartet. Each team segregates cleanly into its own stereo channel making for easy differentiation. Readers familiar with the past work of these four musicians probably know what to expect here.
The music is often unrelenting and there are times where it seems more of a contest between Perelman and colleagues than collaboration. Realistically, few saxophonists could hold their own under such odds but Ivo proves himself among the anointed number. His excoriating lines refuse to play the role of shrinking violet, though there are strong strains of lyricism shot throughout all the ebullient carnage. It’s here where he breaks with the precedence of peer fire breathers like Charles Gayle, even while this set is often reminiscent of Gayle’s more intractable early 90s efforts for Knitting Factory and FMP.
Opening with just the drummers behind him, Perelman looses a swelling chain of rhythmic honks and squeals, alternating legato streaks with clipped cries and whinnies. With the brittle, cagey beats goading him forward, his lines quickly push into the false upper registers of his horn, expending livid hot notes like spent shells from a high caliber cannon. Dropping out, he leaves the drummers to a choppy exchange of martial cadences, with Rosen rolling out the funk and Hemingway coming at the action from a more angular obliquely-skewed stance. Duval and Dresser don’t even appear until nearly a third of an hour has passed. Plenty of fertile patches do arise consequently for them to mesh flurried fingers and bows. Abandon all phobias toward the sustained cathartic scream ye who enter here. The coarse beauty and terror on hand in such profusion shores up a central truism. Ivo’s tenor more than deserves equal representation with his newly celebrated paintbrush as a creative outlet. If only work on the former instrument paid even remotely as well.

Ivo Perelman - tenor saxophone
Dominic Duval and Mark Dresser - basses
Gerry Hemingway and Jay Rosen - drums