Jazz Articles about Ivo Perelman

Ivo Perelman Double Trio: Suite for Helen F.

by Dan McClenaghan
February 11, 2004

My initial encounter with the opening cut of Suite for Helen evoked images of a man blowing saxophone with a nest of small stinging insects busy swarming inside his pants. To carry the image further, this man, though painfully beset, is resolute in a singular pursuit of his sonic mission—blowing the guts and maybe even the soul out of the end of his horn.Having offered up that observation, let me add that I mean none of it derisively. ...

Ivo Perelman: The Ventriloquist

by Glenn Astarita
February 13, 2003

At times, these five musicians’ collective aura might ring something like heavyweight boxers going toe-to-toe. However, the forceful implications are perhaps a bit more complementary! Saxophonist Ivo Perelman and bass clarinetist Louis Sclavis lead the charge by engaging in a series of jabs, flurries and counter-attacks. Yet the key ingredients reside within mutual understanding, cohesiveness, clarity of ideas and much more. In essence, this release features an all-star lineup, plus the lesser-known but thoroughly imaginative pianist Christina Wodrascka.

Ivo Perelman: The Seven Energies Of The Universe

by Glenn Astarita
May 1, 2001

Hard blowing tenor saxophonist, Ivo Perelman sets The Seven Energies Of The Universe to music on this newly released production. Art critic Eleanor Heartney describes in the liners, “For Perelman, the experience of painting is very similar to the experience of making music”. Furthermore, Ms. Heartney approximates the abstract expressionism art movement with Perelman’s style of free jazz expressionism as the inferences to the “Seven Energies of the Universe” seemingly coalesce. Hence, art encircles life, philosophy, God, cosmic processes and ...

Ivo Perelman and Jay Rosen: The Hammer

by AAJ Staff
March 1, 2001

Make all the comparisons you want: saxophonist Ivo Perelman has his own distinctive sound. At times exercising the split-tone multiphonics of Albert Ayler, at others relentlessly pursuing themes a la Coltrane, Perelman certainly draws heavily upon the free jazz tradition. But what sets his music apart is its personal character. On The Hammer, he further confounds the issue by leaping directly into the free style initiated by Coltrane in his 1967 duets with Rashied Ali. The saxophone/drums combination allows Perelman ...

Ivo Perelman: The Eye Listens

by Derek Taylor
March 1, 2001

Saxophonist and sometime cellist Ivo Perelman was one of the most promising players of free jazz in the early 1990s. A prolific series of recordings disseminated on a clutch of labels including Homestead, Leo, CIMP, Music & Arts and others pointed firmly to his rising primacy in the music. Strangely, just as his star was reaching an early zenith he dropped off the view screen and out of the public sphere. Several years of lamentable silence ensued. Thankfully this disc ...

Ivo Perelman/Jay Rosen: The Hammer

by Mark Corroto
January 1, 2001

In examining the lineage of saxophonist/drum energy-jazz duos, consider John Coltrane/Rashied Ali’s Interstellar Space (1967), followed by Frank Lowe/Rashied Ali Duo Exchange (1972), Andrew Cyrille Meets Peter Brotzmann in Berlin (1982), Brotzmann’s duos with Hamid Drake called Dried Rat Dog (1994) and David Murray’s exchanges with Milford Graves, The Read Deal (1994). All these musicians stripped away the trappings of accompaniment, rhythm instruments, and formal structures to reveal pure sound.

To that list add Ivo Perelman and Jay Rosen. The ...

Ivo Perelman: The Eye Listens

by Jim Santella
January 1, 2001

Impressionism carries Ivo Perelman along roads near and far. Most avenues on The Eye Listens carry his free, improvising trio through intense spasms of outward emotion. Consider our natural world. From the quiet sovereignty of a pink, summer rose to the horrifying power of a wintry tornado; Mother Nature has made room for it all. The eye accepts this because it’s there. Perelman steers his tenor saxophone through the eye of the hurricane again and again. The mood changes from ...