Ivo Perelman
Reed Rapture In Brooklyn
Reed Rapture In Brooklyn
Part Five - With Ken Vandermark
Calling Reed Rapture In Brooklyn a series of duets by Ivo Perelman with 12 different saxophonists is turning out to be a tad inaccurate. Although all the guests have spent time with Adolphe Sax's brilliant invention, some of them don't use it here. Two reviews ago, David Murray stuck to his bass clarinet rather than his tenor. And on this section of the album, Chicago multi-reedist Ken Vandermark is content to spend 40+ minutes on the old licorice stick, the B-flat clarinet, rather than his tenor or baritone saxophone. (Looking ahead, I have no idea what Joe McPhee will be playing and I might just wait to find out when I spin their tracks.)
The dozen tracks capture Perelman (on tenor as always) and Vandermark sounding like they're having a blast. They begin by exploring the space between each other, throwing short bursts of sound into the air, playing clipped notes before laying into longer tones. Moreso than any of the previous pairings, the duo frequently sounds so in tune with each other that they could be working from compositions. Vandermark lays down a foundation in "2," stating whole notes that feel a little lonely. Perelman answers in a tone that feels a little majestic (more proof that he has roots that go back to straightahead players) and a little playful as he delivers some mid-range lines.
They move along parallel lines in "5" but their paths recall the way Joseph Jarman and Roscoe Mitchell made disparate lines blend together in the Art Ensemble of Chicago. When they land on the same pitch simultaneously, you have to wonder if it was intuition, good ears or a pre-destined plan. Regardless, the spark can be felt between them.
Vandermark and Perelman cut loose often during the set too, blowing wild, but in tandem. Clarinet spurts combine with runs all over the tenor. Sometimes they move at a rapid pace, knowing the right moment to go from mid-range pirouettes to upper register shrieks.
One of the more fascinating elements to this duo is the way both of them seem to know how long each performance should be. A few of the tracks last between four and six minutes, but several come in around the two-minute mark. In many, Vandermark and Perelman reach a climax together, ending on a sharp cluster here and a gentle, lower pitch there. Both of them seem interested in playing in a manner that works to best serve the project. That description sounds obvious - and it probably is - but that is not always so blatant while listening to free improvisation.
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