By Sammy SteinÂ
Ivo Perelman continues his ‘Duologue’ series, this time teaming up with
trumpet player Wadada Leo Smith, who needs little introduction to readers of
this column. These are players with contrasting voices, and instruments with
which either player could dominate, but that never happens in this
recording, because, as ever, Perelman chooses those with whom he
communicates carefully.
This recording is a statement of intent from the opening with Perelman
ringing out repeated, then varied phrases, over which Smith enters with
trumpet, adding a subtle, then less subtle voice into the mix. Perelman may
have set the tone, but Smith changes it, as only he can, and Perelman
willingly changes his take to suit. Gone is the melodic tone, and Perelman
replaces it with breathy tones reflecting the intonations of the trumpet.
The track is spacey in that each musician has room to develop lines, and the
texture remains light and conversational.
The second track sees each musician entering the flow of the music, as
full-throttle improvisational sequences segue into occasional melody,
largely from the sax but also from the trumpet. Smith creates the path
toward intentional musical mayhem, and Perelman slots his sax melodics and
harmonies in. At times, there is a competitive air, but at others, there
evolves that wonderful sense of two musicians entranced by and listening to
each other. The dynamism is intense, with both instrumentalists finding
space to free solo, and support – the intensity can be almost tangibly felt.
Track 3 sets off at a pace, with Perelman introducing melodic phrases, under
which Smith trips off reflective phrases in response to Perelman’s voice.
Later, the roles swap, and Perelman is reacting to Smith. Toward the final
phrases, Smith excels and raises his trumpet sounds in melodic triumph –
well, almost melodic.
Track 4 is a different kind of beast, with lashings of sonic texture
provided by both musicians, with an energy that increases as the track
progresses. The art of listening is aptly demonstrated here, as Perelman’s
musical motifs are picked up, changed, and thrown back at him by Smith, who
seems to relish the changes Perelman introduces and adds some of his own.
Perelman’s gentleness in the midsection is tempered by the delicacy of
Smith’s delivery, and when Perelman develops a thematic section, Smith
simply drops out and lets him have the space.
Track 5 is a wonderful conversation between sax and trumpet, each
instrument’s tone and range explored and developed, with the topsy-turvy
nature of the sonic landscape further tilted as Smith leads Perelman along
musical pathways not explored before, which Perelman gleefully follows.
Track 6 is lively and energetic with a dancing mode created first by Smith,
then Perelman, who picks up the theme, not in phrases but insertions of
notes perfectly placed to intercept the rise and fall of Smith’s phrasing
with uncanny accuracy. Like a magician producing yet more magical delights
from his pockets, Perelman just keeps delivering, and Smith responds.
Noisy, full- on improvisation at its best.
The final track celebrates both instruments from the trumpet’s opening blast
to the final harmonics. One recording, two instruments, two masters. You
really can’t ask for more than that.