Ivo Perelman: Freedom and Expression
Posted on Apr 06, 2016 | By Kato Bookbird
"In New York, the city of Charles Mingus, Elliott Carter, Deborah Harry and Bob Dylan – who all wanted to intensify music, to pack musical structure with more event and polarities of emotion – Ivo Perelman has been pedalling the new music that, to those looking on from the outside, fused Wagnerian length with the plainness of Erik Satie, the swerving colour of Rauschenberg and Pollock with the instamatic image of Warhol. If you follow Perelman’s music from 2000 to what has transpired until 2015 – an extraordinarily eventful decade and a half – it is fair to say that it has caused a kind of Rite of Spring fracas and turned the whole sound world away from the predictable to something wholly full of surprise."
Take Perelman’s celebrated collaborations with Matthew Shipp – The Art of the Duet – Volume One and Book of Sound, The Other Edge as well the monumental Callas, Complementary Colors and his most recent Butterfly Whispers. In the greater scheme of things those recordings represent an import high watermark of this era of music. One is often reminded of the intrepid bombast of Charlie Rouse played across the angularity of Thelonious Monk, or Ornette Coleman and Don Cherry. It is the dominant narrative of the decade in which the music has been recorded, always leading to the same conclusion: modernism bad but Perelman good.
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