Ivo Perelman
The seven tracks have plenty of free blowing going on, but that's balanced out by moments of restraint and riffs. "6" with a lick that's downright boppish. In a few cases, McPhee is the one setting up a groove. He plays a slow, two-note riff in "3" that comes across like a funeral ballad, which Perelman uses as a foundation for a mix of high shrieks, low chants and exploration in the middle range. It might be ominous but it's soulful too.
Reed Rapture In Brooklyn
Part Nine - With Joe McPhee
One thing that hasn't been heard on any of the sessions of Reed Rapture up to this point is the human voice. That all changes when Ivo Perelman teams up with Joe McPhee. Along with their two tenors, both of them add some vocalizing on a few tracks.
While McPhee begins "2" by alternating deep breaths and soft moans through his horn, Perelman evokes Patty Waters. The impressive part of it comes when he seamlessly shifts from voice to tenor. (It sounded like he didn't have the horn in his mouth initially, if the hard consonant noises were any indication.) McPhee alternates some throaty growls with rootsy blowing here, but his big vocal moment comes in "5," where he also recreates some horn wails with his human voice, full of heavy vibrato. Previous to that, in "4," Perelman seems torn between blowing and verbally expressing his enthusiasm for the rugged meeting of the minds. For McPhee, the feeling is mutual. These moments are brief sections of the whole session but they add a distinct wrinkle to the tracks.
The seven tracks have plenty of free blowing going on, but that's balanced out by moments of restraint and riffs. "6" with a lick that's downright boppish. In a few cases, McPhee is the one setting up a groove. He plays a slow, two-note riff in "3" that comes across like a funeral ballad, which Perelman uses as a foundation for a mix of high shrieks, low chants and exploration in the middle range. It might be ominous but it's soulful too.
After Perelman plays solo for nearly two minutes, McPhee takes that as a cue to join him in "7.". Both begin with a low down sound that's closer to Ben Webster than their Albert Ayler. McPhee sticks close to a spiritual or bluesy idea - at one point moaning through his horn - but Perelman runs all over the place. They could have competed for wildest growls but they already did that in "4." Here, they seem interested in contrasts. The results make a strong ending to this summit meeting.
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