Ivo Perelman Quartet w/Matthew Shipp, Mark Helias, Tom Rainey: Water Music

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska: 2025-02-12,
Wydawnicto Audiofilskie
kontynent: Ameryka Północna
kraj: USA
opakowanie: Digipackowe etui
opis:
multikulti.com * * * * 1/2
"Water Music" kwartetu Ivo Perelmana oczywiście nie ma wiele wspólnego ze słynnym koncertem na wodzie, który odbył się w roku 1717 na Tamizie. Nie znajdziemy tutaj owego przepychu, złożoności i ornamentacji, która zachwyciła króla Jerzego i jego londyńskich dworzan.
Znajdziemy jednak fajerwerki energii, treściwe dialogi i zjawiskowe sonorystyczne epizody. Wszystko w czysto akustycznym środowisku brzmieniowym.
Ten nowojorski kwartet prowadzony przez brazylijskiego saksofonistę, prawdziwego stachanowca free jazzu - Ivo Perelmana - w ośmiu kolektywnych kompozycjach osiąga zaskakującą dynamikę i syci się mnóstwem udanych interakcji. Gdzieś przeczytałem, ze Perelman rozstał się z używanym od lat ustnikiem. Szukając zamiennika wybrał taki sam ustnik, jakiego używał Paul Desmond. Nie wiem czy to właśnie było powodem zmiany akcentów, ale już pierwsza lektura "Water music" sprawia, że słyszymy nowe wątki w muzyce Perelmana. Jego improwizacje są inaczej skrojone, więcej tutaj szacunku dla fundamentu melodycznego, więcej lirycznej narracji. Matthew Shipp, Mark Helias i Tom Rainey unikają typowo free jazzowych eksplozji, świetnie panują nad emocjami. Dzięki temu doświadczamy trudnego do uzyskania balansu między czułą kontemplacją a pełnym szaleństwa free jazzem.
autor: Andrzej Fikus
Copyright © 1996-2025 Multikulti Project. All rights reserved

allaboutjazz.com * * * *
Tę płytę nagraną dwa lata temu (w listopadzie 2022 r.) przez czwórkę znakomitych instrumentalistów rozpoczyna porywający utwór free, w którym muzycy rzucają się w wir improwizacji bez asekuracji, robią to z wilką pewnością i determinacją. Kolejne siedem utworów rozwiją taką formułę grania, z charakterystyczną dla Ivo Perelmana hiperobecnością, który zarazem doskonale wie, kiedy zejść z drogi, dając przestrzeń swoim towarzyszom, odpowiadającym na to po mistrzowsku...
By Alberto Bazzurro

Editor's Info
"Water Music" signals a pivot, marked by a quality not usually associated with Perelman’s music. His improvisations here contain a new emphasis on melodic lines; I’d even dare call them “lyrical." In fact, this was always present to some degree and maybe not always recognizable to everyone…
…Perelman’s music, like the ocean, has always had its own sense of time and rhythm, as it ebbs and flows in waves and currents. On this album, the music and the sea are a bit more in sync.

allaboutjazz.com * * * *
Un free piuttosto spinto apre questo CD inciso ormai due anni or sono (novembre 2022) da un quartetto coi controfiocchi, in grado di cacciarsi a capofitto nella tenaglia dell'improvvisazione senza rete con la quasi certezza di venirne fuori brillantemente. E' quanto gli otto brani su cui la sfida si sdipana ci confermano a chiare lettere, con l'iperpresenzialismo tante volte dimostrato da Ivo Perelman (nel singolo album ma anche con l'elefantiaca, scriteriata produzione di qualche anno fa) che sa farsi invece da parte ove necessario, dando gas ai compagni di cordata, che si rivelano in grado in ogni frangente di cogliere più che degnamente l'opportunità (ma c'era da dubitarne?).
I brani variano parecchio in quanto a durata (si passa dal minuto e quarantatré secondi di "Human Intuition" ai quasi dieci del conclusivo "Flow," anche se i tempi indicati in copertina non sono sempre corretti) ma l'impulso è sempre il medesimo, certo ora con un maggior fuoco dentro e altrove, invece, con maggior ponderatezza e riflessività, ma la linea estetica è sempre la stessa: si gioca attorno a una libertà tanto più preziosa quanto meglio la si riesce a gestire e amministrare. Ciò che in questo disco di musica che il titolo vorrebbe liquida, acquatica, e invece è spesso estremamente corporea, fisica, accade regolarmente.
By Alberto Bazzurro

JazzWord.com
Sometimes it seems that Brazilian tenor saxophonist Ivo Perelman has recorded more albums than Donald Trump has told lies – in actually an impossibility – but why not as he keep maintaining his high standards? Water Music also feature pianist Matthew Shipp, a frequent Perelman collaborator and two other experienced US players, bassist Mark Helias and drummer Tom Rainey.
This isn’t a problem with Perelman’s oeuvre, although he constantly strives to construct compelling narratives for his go-for-broke improvising. With what’s tantamount to a bugle playing Reveille the saxophonist begins track one, “Entrainment” with a quick reed honk and tongue slide and the four are off and running at a gallop. Shipp adds chord cascades and a crashing power glissandi; Rainey pushes and thumps all parts of his drum kit; and Helias vibrates his strings from the bottom near the spike up to the top near the tuning peg.
That sets the pace for the remainder of the disc as the saxophonist highlights high-pitched split tones, multiphonic variables, altissimo flattement and mid-range slurs. Control is never lacking though. Those instances when Perelman whines and squeaks upwards past sopranissimo to dog whistle territory connect with consistent piano chording that while maintaining balance, sometimes refer back to tunes’ beginnings. Irregular reed screams don’t exist in isolation. Even the title track which includes all manner of extended reed techniques is paced by Shipp’s piledriver chording and Rainey’s junkeroo-like metallic patterns. When the saxophonist scoops out subterranean sounds during an interlude, Helias responds with double-stopping strokes. The track includes another sequence where alternating between low and high pitched flutters it sounds like Perelman is playing a “Ghosts” fragment.
A related motif is found on “Fluidity”, one of the assembled musical parts where Perelman pivots to brief moderato lines. Backed by near-formal piano comping, cymbal shakes and double bass pacing, among the saxophonist’s quick sputters, slobbers and slurs, a foreshortened lull includes adding a wisp of “Nature Boy” to an almost straight-ahead reed ramble.
The reason Perelman keeps making albums, and we keep listening to then is that unexpected and surprising motifs are always present. Water Music is another profound statement by the saxophonist. Using the same instrumentation, Sonnet to Silence suggests that there are more innovations to come from the younger bassist.
by Ken Waxman

muzycy:
Ivo Perelman: tenor saxophone
Matthew Shipp: piano
Mark Helias: double bass
Tom Rainey: drums

utwory:
1. Entrainment (Perelman, Shipp, Helias, Rainey) 6:53
2. Life force (Perelman, Shipp, Helias, Rainey) 5:24
3. Sound essence (Perelman, Shipp, Helias, Rainey) 7:51
4. Human intuition (Perelman, Shipp, Helias, Rainey) 1:43
5. Boundless (Perelman, Shipp, Helias, Rainey) 3:38
6. Water music (Perelman, Shipp, Helias, Rainey) 9:18
7. Fluidity (Perelman, Shipp, Helias, Rainey) 8:01
8. Flow (Perelman, Shipp, Helias, Rainey) 9:54

wydano: April 5, 2024
nagrano: Recorded by Jim Clouse on November 22nd 2022 at Park West Studio, Brooklyn, NY, USA

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