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Perelman, Ivo / Mat Maneri / Nate Wooley / Matthew Shipp: Strings 4 (Leo Records)

Expanding on the trio setting of NY tenor saxophonist Ivo Perelman's "Strings 3" album, the 4th of the planned 7 CDs adds pianist Matthew Shipp to create a quartet that, while somewhat conventional on the surface, in practice emphasizes a string-like approach in both the woodwind and brass components, Shipp's perspective adding a unique dimension to the collective improvisation.
 

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product information:


UPC: 5024792086023

Label: Leo Records
Catalog ID: LEO 860
Squidco Product Code: 27339

Format: CD
Condition: New
Released: 2019
Country: UK
Packaging: Jewel Case
Recorded at Parkwest Studios, in Brooklyn, New York, in July, 2018, by Jim Clouse.


Personnel:

Ivo Perelman-tenor saxophone

Nate Wooley-trumpet

Mat Maneri-viola

Matthew Shipp-piano

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Artist Biographies:

"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."

-Ivo Perelman Website (http://www.ivoperelman.com/bio/)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.

Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.

Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".

In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.

Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."

-Nate Wooley Website (http://natewooley.com/about)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Mat Maneri was born in 1969, and started studying violin at age five. He studied privately with Julliard String Quartet founder Robert Koff, and with bass virutuoso Miroslav Vitous. Mat received a full scholarship as the principal violinist at Walnut Hill High School, but left school to pursue a professional career in music. By 1990, Mat founded the critically acclaimed Joe Maneri Quartet with Randy Peterson. Mat started releasing records as a leader in 1996, and has developed four working ensembles. Pianists Paul Bley, Cecil Taylor, Matthew Shipp, and Borah Bergman have called upon Matt to perform with them in such venues as the Montreal Jazz Festival, the Library of Congress, and concert stages across Europe. Mat also enjoys a strong relationship with bassists Ed Schuller, Mark Dresser, William Parker, Michael Formanek, Barre Phillips, and John Lockwood. Never to be boxed in, Mat has also worked with Joe Morris, John Medeski, Tim Berne, Cecil McBee, T.K. Ramakrishnan, Franz Kogelman, Roy Campbell, Spring Heel Jack, Draze Hoops, and appears on an Illy B Eats remix CD. Mat presently teaches privately and through the New School / NYC, and performs and records worldwide."

-Aum Fidelity (http://www.aumfidelity.com/maneri.html)
12/4/2019

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"Matthew Shipp was born December 7, 1960 in Wilmington, Delaware. He started piano at 5 years old with the regular piano lessons most kids have experienced. He fell in love with jazz at 12 years old. After moving to New York in 1984 he quickly became one of the leading lights in the New York jazz scene. He was a sideman in the David S. Ware quartet and also for Roscoe Mitchell's Note Factory before making the decision to concentrate on his own music.

Mr Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all of his own- and he's one of the few in jazz that can say so. Mr. Shipp has recorded a lot of albums with many labels but his 2 most enduring relationships have been with two labels. In the 1990s he recorded a number of chamber jazz cds with Hatology, a group of cds that charted a new course for jazz that, to this day, the jazz world has not realized. In the 2000s Mr Shipp has been curator and director of the label Thirsty Ear's "Blue Series" and has also recorded for them. In this collection of recordings he has generated a whole body of work that is visionary, far reaching and many faceted."

-Matthew Shipp Website (http://www.matthewshipp.com/bio.html)
12/4/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. Pt. 1 4:48

2. Pt. 2 2:01

3. Pt. 3 6:09

4. Pt. 4 7:14

5. Pt. 5 9:06

6. Pt. 6 6:15

7. Pt. 7 4:24

8. Pt. 8 7:38

9. Pt. 9 8:58
sample the album:








descriptions, reviews, &c.

"The relationship between strings and woodwinds firmly established, the question Ivo asks himself is what happens if a brass instrument comes in. Ivo says: 'When I have the question like that, the only way to answer is to book a studio time and go for it."-Leo



"On Strings 4 Ivo Perelman teams up with his long-time collaborators Matthew Shipp on piano and Mat Maneri on viola, with Nate Wooley on trumpet to produce something quite beautiful in terms of the imaginative musical pictures which Perelman creates, managing to transpose pictures and imagery in his mind to music.

Track 1 opens gently with piano playing light melody over the trumpet elongated noted and sax riffs before the piano notes turn into chords and the sharpness of the trumpet offers contrast and texture. The sax and roughly hewn viola notes add to the layers of deeply engrained knots to the music rather like a piece of careful worked oakwood. Track 2 is more discursive with sax and viola opening, piano and viola then echoing each other briefly before the trumpet also adds its voice. All instruments then interface, with some quite entrancing piano string work adding to the mix. Track 3 is structured and timed initially before the structure and times are contracted, expanded and even the key is within a micro-millimetre of losing its way - gorgeous. The final section is absolutely worth waiting for. Track 4 is where Nate Wooley proves the worth of a trumpet in this musical melding of minds. Perfectly placed, rapid-fingered timing and wonderfully worked note runs make this interesting and a track of fun. Track 5 is a lesson in improvised interactions but track 6 is standout with its play on melodic lines, interspersed with harmonics which only just work, yet that very precariousness makes it sharp on the ears but also an absolute joy to hear, especially when Perelman takes aim at a note and eventually reaches it by ascending or descending through the key in a warp of arcing sound, reaching his intended note eventually. At times his sound is almost akin to double tonguing, so voice-like does he make his sax. Tracks 7 and 8 are fun, furious and at times mind-blowingly fast.. immediately contrasted with a slow elongation of sound and the final track is that mix of Shipp's intricate delicacy over Perelman's wondering melodic chants before Shipp himself produces chordal progressions which the other follow, piano leading sax, leading viola. The final section with piano providing a bass reference over which the others float before everyone gently soars is simple beauty incarnate.

There is a sense of wonder whenever Perelman instigates and also a sense of what next? Here he has the orchestral opportunities in the percussion of the piano, strings of the viola, brass of the trumpet and wood of the sax yet it is so absolutely improvisational music it shows just what might be done with a massive ensemble. But wait, not yet. For now we enjoy Perelman bringing it together, inspiring the experimenting, keeping pushing and using his alter ego which his sax is to create soundscapes which have nothing to do with solo players or larger orchestration - they are simply Perelman and company."-Sammy Stein, The Free Jazz Collective


Get additional information at The Free Jazz Collective
Related Categories of Interest:


Leo Records
Improvised Music
Jazz
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Quartet Recordings
Stringed Instruments
Collective Free Improvsation
New in Improvised Music
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