Daily Listenings

"One" brings together the potent forces of Brazilian tenor saxophonist and prolific free jazz icon Ivo Perelman, veteran bassist-guitarist Joe Morris (a ubiquitous figure on the avant garde jazz scene, making his recorded debut on electric bass guitar here) and Hungarian hardcore drummer Balazs Pandi (Slobber Pup, Obake, Metallic Taste of Blood, Merzbow).

With no rehearsals, no charts, no sketches or musical road maps whatsoever, the three risk-taking musicians entered the studio and made a joyful noise in daring, unadulterated fashion, pulling no punches while following their instincts from start to finish.

Fueled by the hard and fast beats of Pandi, who also demonstrates his remarkably versatile skills and keen listening instincts throughout the session, One is a highly interactive studio encounter that borders on the telepathic at times.

And with Perelman’s cathartic, Albert Ayler-inspired tenor sax blowing on top and Morris’ electric bass lines bubbling underneath, sparks ensue on this turbulent project.




ONE-Freedom/ Ivo Perelman/Joe Morris/Balazs Pandi

The rhythmic aspect of this composition is based on Euclidean rhythms (a salutation to the Greek mathematician Euclid!).
In 2005 Goldfried Toussaint published the article "The Euclidean algorithm generates traditional musical rhythms" (http://cgm.cs.mcgill.ca/~godfried/publications/banff.pdf). In this article he defines and explains the concept of Euclidean rhythm . These rhythms are so called because they can be obtained using the famous Euclid algorithm that allows us to obtain the greatest common divisor of two numbers. Using this algorithm, rhythms are achieved in which the accented beats of the measure are evenly distributed among the non-accented beats and the uniformity that is achieved is the maximum possible. The interest is that many of the prominent rhythms of world traditional music have this Euclidean rhythm arrangement.
Specifically, in this piece I have used four Euclidean rhythms, corresponding to the following popular music: "Cumbia Colombiana", "Tresillo Cubano", "Cinquillo Cubano", a bell rhythm from West Africa.
With a pair of numbers, the first indicating the number of downbeats and the second the total number of beats in the measure and using the sign   x   to represent the accented beats and the sign   .   for the weak, the cited rhythms can be represented like this:
 
"Cumbia Colombiana" :   E(3,4) = [x. x x]
"Tresillo Cubano ":    E(3,8) =  [x. . x. . x.]
"Cinquillo Cubano ":    E(5,8) = [x. x x. x x.]
West African bell rhythm:   E(7,12) =  [x. x x. x. x x. x.]

The intention has been to obtain a festive music for a certain celebration.

To contrast with such joy and to give a little more variety, in the harmony I have used more ambiguous and somber elements such as the fourth chords and also the four musical modes that I have used: Dorian, Aeolian, Phrygian and Locrian.

In the symphonic instrumentation, it is worth highlighting the inclusion of four saxophones, two sopranos and two tenors and also the absence of percussion instruments with the intention of achieving strong rhythmic sensations implicitly only with melodic instruments.

Euclidean rhythms for a celebration

10 years ago, I recorded some piano improvisations with weather on my mind. This one is for all us cloud-gazers. And you know what they say about weather ... it always changes ... 

Stream: https://tinyurl.com/TAOClouds

Written and performed by Michael Price
http://www.michaelpricemusic.com

Recorded by at Snap Studios, London
http://www.snapstudios.co.uk/

Mastered by Katie Tavani
https://www.katietavini.co.uk/

Illustration & Animation by Deepesh Patel
https://www.artstation.com/deepeshpatel

The Anatomy of Clouds

The Anatomy Of Clouds

Satori: 06 The Orderly Garden

Satori: 04 Koan

"A real jazz treasure..Perelman is an extraordinary singer in the high sax register he can reach with exceptional breath control..Maneri’s voice is as profoundly original as that of the saxophonist..an original guitarist like Morris can be appreciated in a trio as well balanced as Counterpoint"
orynx-improvandsounds.blogspot.com

" a form of hypnotic energy that attracts and completely engulfs the listener like a whirlpool"
www.musiczoom.it

"the music flows with satisfaction, or even with refined slyness, half bestrewn transpositions, at random or even extremely swiftly"
www.hisvoice.cz


part 4 "Counterpoint", Leo records 2015

"one of jazz history’s greatest duos.”examiner.com
" a significant moment in the art of the improvised duo " NYC Jazz records
"some of the most potent free jazz on the scene today" skremsky.tumblr.com
Stuart Broomer, NYC jazz records

Violetta, "Callas", Leo  records, 2015

"light years away from what others do.. a dense music, full of expressiveness, absolutely outside the permits of the rules in force... Inspired and free, this music finds new directions for expression"

There's a certain feeling between tenor saxophonist Ivo Perelman and Joe Morris on bass or electric guitar, as evidenced by their various encounters in trios or quartets. It still wasn't the duo, a direct dialogue as is the case here, with Joe Morris holding the acoustic guitar. The music of the two is the kind that leaves no room for escape; you can immerse yourself in the flow of sound, from one track to the other, or better still lose yourself completely. Because even without rhythm section, they know how to occupy the space and create a dense music, full of expressiveness, absolutely outside the permits of the rules in force.

Morris has already worked with a rhythm section, or in the Living Jelly trio with Perelman and drummer Gerald Cleaver, but here the music does not need anything - the dialogue of the two works alone because in this formation, they have something to say. Turtle Dance, in spite of the slow speed of the animal, is a song full of energy. In it the sax is ready to attack, the acoustic guitar brings out so many notes to stimulate the tenor saxophone to make a sound that knows how to impose. Inspired and free, this music finds new directions for expression. The long track Almost Blue has nothing to do with the famous Elvis Costello ballad made famous in the hands of Chet Baker.

Everything here is more rarefied by the will of the musicians, an atmosphere that speaks of night, but light years away from what others do. The sax sounds relaxed with a melancholy note, and yet free, tangential to the expectations, sometimes hoarse or ready to glimpse what he can do with the treble, while the acoustic guitar becomes a stimulating interlocutor from which emerge stretches of the blues, pulled out of shreds of memory, quoted, but with little loyalty. The cover is a painting by Perelman himself, who is not only a musician, but also an abstract expressionist painter.

http://www.musiczoom.it/?p=25892#.V0AAuORCe70

blue

"each piece a self-contained drama, from the cinematic scope of the opening ‘Metaphysical’ to Shipp’s intimate prelude which opens the title track and Perelman’s gorgeous lyric line later in the same piece, full of subtle inflections..delicate hues of his tenor.. intensely expressive saxophone "
Many paths led to this album. It can be seen as the duo of Ivo Perelman (tenor saxophone) and Matthew Shipp (piano), who recorded the majestic Corpo a week before, plus the rhythm section of Michael Bisio (double bass) and Whit Dickey (drums); or the most recent Shipp trio with Bisio and Dickey, responsible for four outstanding releases, plus Perelman; the trio of Perelman, Shipp and Bisio, who’ve made one recording, plus Dickey, as has the trio of Perelman, Shipp and Dickey, plus Bisio; or the trio of Perelman, Bisio and Dickey, which have performed but not recorded, plus Shipp; or the combined duos of Perelman and Dickey, and Shipp and Bisio, both of which have released albums. There’s also the two previous outings by this quartet: The Edge (Leo Records, 2013) and The Other Edge (Leo Records, 2014).
Such a multiplicity of relations is reflected in the album as a whole – ceaseless activity but never crowded; four musicians entirely at ease with each other and comfortable with their own space and fit, sensitive to even slight changes in energy, mood and focus. There’s a relaxed feel to the date and an assurance which allows thinking in paragraphs rather than sentences, each piece a self-contained drama, from the cinematic scope of the opening ‘Metaphysical’ to Shipp’s intimate prelude which opens the title track and Perelman’s gorgeous lyric line later in the same piece, full of subtle inflections. There’s much to enjoy: the duo of bass and sax which opens ‘Joy’, later joined by piano and drums, the shifting balances of ‘Eyound’ and the pounding dance in ‘Crossing’ which resurfaces throughout the piece, a thought that can’t be shaken off.
A word about the recording. Like all the releases reviewed this week and many of Perelman’s recent albums, Soul was recorded at Park West Studios, Brooklyn, engineered by Jim Clouse. The acoustic is intimate, revealing the full range of instrumental textures: the sparkle and luscious resonance of Shipp’s fine piano, the delicate hues of Perelman’s tenor, Bisio’s weighty registers and the clatter of Dickey’s drums and soft decay of his cymbals. Such sound aids appreciation of the organic flow of a piece like ‘Fragments’ (a popular title among improvisers) in which an assemblage of darting phrases gradually coalesce and from which Perelman’s intensely expressive saxophone emerges.
What about the album title? Perelman’s recording prior to this was Corpo (Body) – do the albums form a complimentary pair, a rendition in music of Cartesian Dualism perhaps, or joined together, an allusion to the great jazz standard famously recorded by Coleman Hawkins? Probably not: as noted by Neil Tesser in his liner notes, each album has both body and soul, and the tune doesn’t put in an appearance on either. Maybe the title, and album cover, simply reflect the deep-rooted community of purpose shared by these musicians and the fluid discourse and free flow of ideas this enables. I’d be happy with five albums of just this quartet – a reasonable enough request. ****
By Colin Green
http://www.freejazzblog.org/2016/06/ivo-perelman-matthew-shipp-michael.html?m=1

metaphysical

"Perelman's tenor sax is able to convey any type of emotion, from the free yell to soft notes that give a sense of indefinite sweetness"

Here we are with the fifth volume of the new series of recordings by Ivo Perelman in a trio, this time with Joe Morris on the electric guitar and again with Gerald Cleaver, the drummer. “Improvising is action,” this is what Morris wrote in the liner notes, and starting from the beginning the music, instantly improvised in the studio, confirms this statement. There is no intention of referring to a past, neither near nor far, although the three obviously know their colleague's music. “We intend to share new ideas with people who seek new listening experiences, which offer the opportunity to exist in the present and to contemplate life in new ways through music.” These are the words with which Morris tries to explain the intentions that move the musicians and the contact they intend to establish with the public which should be able to share their proposal of a search for new listening experiences.
Part 2 presents even more pensive situations, because Perelman's tenor sax is able to convey any type of emotion, from the free yell to soft notes that give a sense of indefinite sweetness, instead in Part 4 the music becomes turbulent, Morris's macerated guitar and Perelman's saxophone, who hits the high notes as only he can, works perfectly in conveying that new something which is in their stated intentions. Towards the end of the song Morris and Cleaver remain alone to express themselves intensively occupying the remaining available space. In Part 5 the music becomes pensive, at least at the beginning of the song, before the frenzied tenor saxophone imposes a new directive pace. The long Part 8 is a swirl of inventions, all hyperactive and hyperkinetic, which are looking for a compact communication and an immediate expression of their artistic talent. As always a recording that doesn't leave anyone indifferent, special for both the instrumentation and the performance conditions.

http://www.musiczoom.it/?p=26829#.WCvORhIrJBx

"The art of the improv trio vol 5" part 1

“Over the course of nearly 100 recordings under his own name, tenor saxophone savant Ivo Perelman had previously recorded only once in the company of another reed player -- in 2005, in a quartet that paired him with Louis Sclavis on bass clarinet. Now, in his latest exploration of sonic colors and instrumental pairings, Perelman has tripled that output with the release of two quietly spectacular albums, Kindred Spirits and Spiritual Prayers” Neil Tesser, liner notes

1.  7.21

Dawn In Stamford Hill

Naked version of the official demo for sample library by Herman Samples, Frozen Piano.
Patches used:
Felt Piano - Softer, Dreamer, Icelander, Icelander 2, Frozen Piano, Pad 1, Pad 2, Echoer, Little Glockenspiel, Windspiel
Teaser: https://youtu.be/SgvOeaqeN98
Try it yourself! https://hermansamples.com

Frozen Piano - "Ascension" by Patrik Herman

Composed for Universal Prodcution Music's 'Earth Day' album.

Published as "Time To Change"

Available to license at https://www.universalproductionmusic.com/en-gb/search?vtag=1&vwave=1&vdesc=1&fq=composerIds:%2821870%29

Heartbeat

What the Future holds

"Perelman is one of the great saxophone virtuosi and exponents of spontaneous composition to have emerged in the past three decades" Jazzwise 

"Ivo Perelman is perhaps the greatest living musical artist of our time" @CriticalJazz

"a modern day saxophone colossus.. a true improviser.." Echoes, UK

"“one of the world's most prominent avant- garde jazzmen” Hot House

"One of the leading tenor sax players of his generation, Perelman has been described as a unique genius by no less than Gunther Schuller" Jazzwise

"..supreme..brilliant..passionate abstractionist, Ivo's playing reconcile the emotional charge with technical agility and intellectual sophistication with a rare grace" Free Jazz Alchemist

"sublimely structured, perfectly dosed music that excels in the use of dynamics, feeling for the timbre and rhythmic smoothness. Intimate, clear music portraying huge beauty, all the while being witty and able to touch your heart" Jazzflit

"the tenor saxophone you hear is miraculously unique. ..piercing, burning, meaningfully warm, lyrically expressive, dream-awakening sounds that explode with an unrivalled urgency..Extremely rare, and just perfect!! orynx-improvandsounds.blogspot.com

" Daring and beautiful music...forceful, passionate, droll, incendiary, and ultimately satisfying...outstanding...an emotionally cathartic mini-masterpiece" All About Jazz

"the volcanic intensity of Ivo's playing hooked to his impassioned ‘spontaneous composing’ style, singles him out as one of today’s most ferociously creative saxophonists." Jazzwise

"Perelman is following in the footsteps of the great masters of the tenor sax..The lively and winding interweaving of the sax within the musical foundation constructed by pianist Matt Shipp produces fascinating results" Culture Jazz.

".. transcendent beauty.. quite remarkable..Perelman’s wide tenor sound with its slight vibrato contrasts beautifully with the acerbic, mordant response of the strings..all too rare in music of this kind.. a rather touching lyrical quality to it.." Jazzwise

"sensitive, flavourful and intelligent tenor sax with a unique sound..Perelman is unequaled or perhaps only equal to David Ware, a young Archie Shepp, Evan Parker and just a few others" Orynx

"An artist of real stature..a lyricism that is largely achieved by the considerable sensuality of Perelman’s approach..the performance is mercurial with the constant shifts in texture and pulse quite gripping..his tone, possessed of a steam heat solidity, and phrasing, bears marks of distinction." Jazzwise

"Perelman goes far deeper than any saxophonist to come before him. Ivo can see past the music with a zen like approach of focus, intensity and the appreciation of the stunning grandeur of silence when appropriate. Ivo Perelman has done but what a mere handful of jazz musicians have done. Some musicians are said to be "technically proficient" while others are "artistically gifted." Ivo Perelman is the best of both worlds." @CriticalJazz

"Perelman is one of the nowdays rarely encountered all-round geniuses..Ivo is also considered an internationally renowned painter, whose works adorn museums in New York and Amsterdam" Jazzpodium

"Perelman’s startling if unorthodox virtuosity..mastery with which the post-freedom saxist interwove his remarkably lyrical wails..uncanny command of the instrument’s upper-register 
squawk tones”.." Best in jazz 2012, Examiner.com

"emotional power and technical prowess in equal measure.Ivo is is as indebted to the un-categorisable invention of his compatriot Hermeto Pascoal as he is to the spiritual invocations of Albert Ayler... an episodic richness that marks him out as a soloist who wants to unwind a narrative thread in the most unexpected way" Jazzwise

"Perelman is a master craftsman at deconstructing his own creative force with a special twist..Ivo continues to inspire with work unmatched by his contemporaries.. an artist with the rare gift to transcend.. this is the genius of Ivo Perelman"@CriticallJazz

"complete virtuosity…Perelman can freely articulate any musical thought he hears..like an unstoppable force of nature..he's expressing microtonal melodies that are like condensed forms of the flurries of notes he lets fly in the tenor's middle register" Culture Catch

"Perelman extended the avant-garde innovations of the 1960s into the 21st century, creating a roadmap for todays new 'new thing.'"All About Jazz

" it’s people like John Coltrane, Albert Ayler and now Ivo Perelman..not only expanding boundaries but creating his own..Ivo has tackled just about every jazz inch capable of being heard by the human ear..mesmerizing" Goldmine

""Perelman is one of the most innovative musical artists in present times.. an examination of truth and intensity in music" Jazzpodium

"Ivo Perelman is an impressive musician. He is skilled technically and expressive musically. Besides, his creativity has no limits..He is incarnated measureless creativity." www.soundofmusic.nu

"Perelman plays like a man possessed, with a broad and attractively wobbly sound..a tour de force of instant composition..luminous and vigorous improvisations..serious listeners will want to tune in to Perelman and Shipp’s unique soundworld." Stuart Kremsky, Mr. Stu's Record Room

"the deep connection between Perelman and Shipp, both masters of improvisation, is a real clairvoyance..their empathy is amazing”AAJ

"Ivo's virtuosity and individual sound tremendously lyrical has created a world within the Avant-garde that is all his own, unlike of anybody else." Gary Giddins, author, critic - The New York Times, Village Voice, The Sun

"One of today's most prolific and adventurous tenor saxophonists. A master of extended techniques with a robust tone, his supple embouchure and intrepid virtuosity facilitates a wide range of expression - from altissimo glissandi and flutter-tongued chromatics to percussive slap-tongue and staccato split-tones - all seamlessly integrated into tortuous motifs....majestic ...sensitive romanticism ...hearty, abstract lyricism ...epic, stream of consciousness cadences" All About Jazz

"The epitome of the searching artist. A conceptual instrumental visionary pushing the envelope of the creative idea. Perelman is an incredibly lyrical player that can touch an individuals soul while setting their hair on fire at the same time. He plays on and from a different artistic plane than most, a perfect marriage of the visceral and cerebral ,the extension and ease of transition as performed by Perelman is unparalleled. Think Albert Ayler on steroids." @CriticalJazz

"Perelman is a master of linear development and control with a Romantic streak as wide as Ben Webster’s vibrato". Ed Hazell , Point of Departure.org

"Perelman's music happens to be quite courteous, elegant and artistic, the sound of his saxophone can be charmingly beautiful and romantic, sometimes too beautiful as for an expressionist..pure music that is quite rare to see nowadays.." Music and Time

"Ivo is a heavyweight champ who, at
times, moves mountains via his colossal sound 
and brusque attack. However, Perelman can also wind it down a few notches when delving into chamber jazz formats or exploring modern mainstream and bop. 
Indeed, he's a multitasking machine." - All About Jazz

" Perelman’s sax proves the man’s willingness to reach for the uppermost pinnacles of lyricism..He travels across various stages of shamanic liberation from the body, pushing his vision at the borders between coherent stoicism and consuming catharsis" Touching Extremes

"Perelman's broad, sweeping tenor seduces the listener with his patented mixture of strongly etched melodic lines mixed with well-placed cries and screams…he's clearly his own player" Cadence

"Perelman has the powerful voice, strength and melodic development that only great artists own..he has reached considerable artistic maturity with an impressive variety of techniques on the tenor sax" All About Jazz.

"Perelman is a master at improvising on melodic themes and at using this technique to deconstruct then rebuild statements already made.He is a decidedly idiosyncratic tenor player with a forcefully dramatic performing style. He has often been favourably compared with David Murray and Albert Ayler and as with those and othertop-flight musicians he is usually at his best when playing with artists of the same rank" . Jazz Views

“Perelman may well be one of the fiercest tenor players you will ever hear and the most unique" Digital Jazz news

"Perelman belongs to a lineage of aesthetically ambitious humanists like Duke Ellington, Charles Mingus, John Coltrane and Henry Threadgill." James C.Hall, author, New College Director, University of Alabama

"Perelman is a jazz/world treasure, always surprising, creative.....stupendous even…a wonderful sound journey....well worth the trip"
Mike Pettengell.. kkfi.org

"Perelman 's solos are grounded in the rich soil and rare earths of saxophone history, but they can also prove shockingly mercurial; they traverse that history in swift flights from zephryrous melody to supersonic yawps. He plays with an abandon – a fury, even – that can belie his natural inclination (to find order within the seeming chaos of free improvisation)".
Neil Tesser, award-winning jazz journalist

"a free jazz feast which epic eloquence will blow away any mind that’ll dare to listen..striking similitudes to the gloriously generosity of output of Perelman' s great predecessor, John Coltrane" David Cristol, Jazzman

"another masterpiece…creativity always an inexhaustible constant ..Perelman confirms that the message of freedom in jazz of the `60s has not been in vain" Vittorio Lo Conte, www.musiczoom.it

"Ivo Perelman makes the saxophone live and breathe. He has complete control over his instrument..He is the saxophone..he touches the reed with all the strokes of the world's greatest artists in wordless communication and poetry..intensely talented, creative he is a wordless poet, and without limits..A sweet middle register, beautiful spontaneous melodies, pleading high notes, somber low notes.His control of pitch is vocalized internally so completely, that he is not limited by the traditional 12 tones of the chromatic scale..it is his contribution to moving us just a bit further ahead as a civilization" Ken Radnofsky (Professor of Saxophone at New England and Boston Conservatories, Boston University and Longy School of Bard College). 

"To say Perelman is a strong player is an understatement. His tone is huge (and beautiful). His ideas are huge and multi-faceted." Cadence

"One might fear that tenor saxophonist Ivo Perelman may begin to repeat himself. To put it succinctly – not a chance.” All About Jazz

"...an entire new school of jazz..., unique genius..." Gunther Schuller, composer, conductor, jazz historian 

"One of the most distinctive and imposing tenor sax voices to come along in years." DownBeat 

"...a sound as passionately effusive as Ivo Perelman's is at once original, uncommon, and undeniable." AAJ 

"Ivo Perelman is undoubtedly one of the great modern tenor players, a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken." The Wire

"As an innovator in extended techniques, Perelman has few peers.Make all the comparisons you want: saxophonist Ivo Perelman has his own distinctive sound." All About Jazz

"One of the greatest colorists of the tenor sax." Ed Hazell, Boston Globe 

"Perelman just keeps on pumping out recordings bound to stand the test of time." All Music Guide

"...like the best free jazz tenors, Perelman's playing is shot through with a tenderness that stays just the right side of sentimentality." BBC (British Broadcast Company)

"The most important and distinctive tenor sax voices in recent years." Theiceberg.com

"Perelman is a monster with a tenor in hand, and I often feel that his music points out new directions in freejazz. His music is really complex, and he plays with a seemingly endless stream of ideas." Fire and Flux

"...the most intense, disturbing, tormenting sax player alive." Françoise Couture, Delire Actual

"Not since Coltrane duos with Elvin Jones and Rashied Ali have I experienced a sax/drums assault as powerful as Perelman's Soccerland." Los Angeles Weekly

"...fires with intensities rivaling those of John Coltrane." Chuck Berg, Lawrence Journal

"Perelman has a tenor tone worthy of Coleman Hawkins and Sonny Rollins- one that is virtually unrivaled today in its purity and beauty." Cadence

"... innovative genius...a new approach to jazz. " Ejazz news

"...Perelman is reassessing the power of genius." Touching Extremes

"One of the most impressive tenor players of his generation." Musings

"One of the most innovative approaches to emerge during the current decade." Avant

"One of the pre-eminent tenor sax-players of our time." Option

"One of the most vital voices in the rejuvenation of free-jazz." The Ottawa Citizen

"One of the world's most remarkable jazz musicians." Buffalo News

"One of the most interesting of the new one-world breed of jazzman." The Herald

"One of the most arresting tones heard on tenor sax." Bob Rusch, Cadence

"...the most innovative saxophonist to emerge in the last 15 years." CD Review

"Among the most risk-taking jazzmen of the 1990s." All Music Guide

"Tenor sax player of immense power and grace." Oprobium, New Zealand

"On tenor Perelman is a dominant voice possessed of a big sound that is capable of great flexibility and expressiveness." Cadence

"Incendiary." CMJ

"The world-class saxophonists to come from Brazil can be ticked off on one hand. Ivo Perelman is one of that rare breed." Jazz Times

"Perelman produces music of absolutely mesmerizing grandeur." Cadence 

"Jazz didn't get anymore scorching in the Nineties than Perelman's Seeds, Vision & Counterpoint." AMG

"To say that nothing new is happening in jazz is to be ignorant of Ivo Perelman." The Philadelphia Tribune

"Reinventing the spirit of Brazil's music." The Boston Phoenix 

"After two decades of musical stultification, Perelman's buzz saw brashness is a breath of spring."DownBeat 

"Revolutionary!" The Toronto Star

"...nothing less than miraculous... no one in the USA is playing and composing jazz with as much cross-cultural imagination as Mr. Perelman... a vital contribution to jazz history..."Norman Weinstein, ASCAP Award Critic

"Words cannot begin to convey the immediacy of Perelman. Listen!" Lawrence Journal 

"Thank God for albums like this one." (Children of Ibeji) Straight No Chaser "

...album like these (Man of The Forest and Soccerland) are desperately needed today." CD Review 

"Just when you thought that fire had died of contemporary jazz." Utne Reader

"Perelman is one of the few who reminds listeners that one of the most crucial elements in Albert Ayler's influential '60s work was a sense of almost unbridled fun." Aaron Cohen, Down Beat
Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments – including cello, clarinet, and trombone – before gravitating to the tenor saxophone. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. But although these artists’ romantic bent still shapes Perelman’s voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark. 

Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on 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 after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: “I would go berserk, just playing my own thing,” he has stated.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day. His discography comprises more than 50 recordings, with a dozen of them appearing since 2010, when he entered a remarkable period of artistic growth – and “intense creative frenzy,” in his words. Many of these trace his rewarding long-term relationships with such other new-jazz visionaries as pianist Matthew Shipp, bassists William Parker, guitarist Joe Morris, and drummer Gerald Cleaver.

Critics have lauded Perelman’s no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax” (Ed Hazell in the Boston Globe); “tremendously lyrical” (Gary Giddins); and “a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken” (The Wire). Since 2011, he has undertaken an immersive study in the natural trumpet, an instrument popular in the 17th century, before the invention of the valve system used in modern brass instruments; his goal is to achieve even greater control of the tenor saxophone’s altissimo range (of which he is already the world’s most accomplished practitioner). 

Perelman is also a prolific and noted visual artist, whose paintings and sketches have been displayed in numerous exhibitions while earning a place in collections around the world. 


Herbie van Tetering is a Dutch composer and musician. When he was young, he studied Jazz composition at Berklee College of Music and continued studies with renowned musicians from The Netherlands. Herbie is also producer-, composer-, and musician for his recording- and publication organisation. As a composer and musician, Herbie is affiliated with the BMI organisation. Herbie plays Resonance trumpets and exclusively grand pianos like Steinway.

Herbie delivers written and recorded music with professional music score and as a complete instrumental soundtrack; with real acoustic instruments, jazz trumpet, grand piano, jazz- and electric guitar, upright double bass and with the most professional and realistic sounding virtual orchestra's. Composed, conducted, orchestrated and arranged using modern conductor technology. Mastered, engineered and delivered as a complete product at 48KHz 24/32bit audio standard.

ONE-Freedom/ Ivo Perelman/Joe Morris/Balazs Pandi

Ivo Perelman

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