As we informed our readers here, saxophonist Ivo Perelman had recently released a cavalcade of totally improvised duet recordings involving twelve other reed aces of all sorts entitled Reed Rapture in Brooklyn. Such a hefty piece work can’t be adequately described in a single, 600-word article, so I put the spotlight on one of those duets to point out just how two saxophonists from such differing backgrounds and who probably never played together before can quickly find simpatico.
That last time, we put an ear on Perelman trading ideas with a contemporary of his, Joe Lovano. This time, our focus is on the duets with an avant-garde giant of the prior generation, Roscoe Mitchell.
Each meeting is a completely distinct clash of contrasts. For the encounter with the AACM and Art Ensemble of Chicago co-founder, Perelman isn’t necessarily battling with an older form of jazz because Mitchell was always ahead of his time and not bound to the times, anyway. But nonetheless his laid back, gospel-laden and often jocular moods sets himself apart from nearly every other saxophonist, much less Perelman. Mitchell has an unmistakable sense of melodicism even when he’s at his rowdiest; it’s one of his hallmarks, in my view.
What’s more, Mitchell brought a big-assed bass saxophone to the sessions, which makes him even more distinguishable on the right channel to Perelman’s tenor on the left. The pair laid down only three tracks, extensive ones – especially by Perelman’s usual standard – but Perelman always adapts to the situation presented to him.
“One” is not trading fours, more like trading ones, the ever-patient Mitchell never rushing in to fill a hole because he long ago mastered the use of the space between notes. Perelman adjusts to this approach while remaining very much in character. Over time, the two overlap each other but maintain the unhurried pace, even occasionally pausing for a brief second or two as they contemplate their next move, but some of that staccato amble gets some legato folded in as the proceeding continues to slowly unfold.
The two do not sprint their way across the forty-minute performance christened “Two,” rather, they take a casual stroll. With Mitchell hunkered down on the bottom end of the scale, Perelman revels in the pitch range left all to himself as Mitchell with his drawn out, nearly unbroken notes, is more or less directing the progression of the song. Around the eighteen minute mark, he begins to hold a note for so long (take that Kenny G!) until it turns into a drone, and then ever so nonchalantly moves on to other notes.
The pair particularly engage with each other for “Three,” with Perelman often soaring high as Mitchell stays low and setting the overall direction.
Now 82 years old, hearing Roscoe Mitchell still marching to his own beat is a feast. Doing so in musical conversation with another vanguard saxophonist in Ivo Perelman makes it all the more special.
Reed Rapture in Brooklyn is currently available through Mahakala Music. Get it here.
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