The symbiotic team of tenor saxist Ivo Perelman and pianist Matthew Shipp is captured in 7 separate recordings and with various guests. Put on your seat belts!
Volume 1 (Titan) has Perelman and Shipp in a trio setting with bassist William Parker. Perelman gasps and sputter on “Part 1″ and wheeze over the frisky bass and piano on”Part 2.” Shipp is highly ectomorphic on “Part 4,” and frisky on the bluesy “Part 5.” The 20 minute “Part 6″ has the tenor saxist explore subtones wh le Parker bows and draws his bass in various hues.”
Volume 2 (Tarvos) brings drummer Bobby Kapp to create a trio. The team bops on “Part 5” and staggers on “Part 4” while Shipp is gentle on “Part 6” and Perelman breathes deep as he pops on “Part 3” and broods on “Part 7.” Rich interplay with long shadows.
Volume 3 (Pandora) features a quartet with William Parker/b and Whit Dickey/dr through 6 tracks. The rhythm is restless on “Part 2” while Parker gets blues during “Part 5.” The drums and bass scatters around on the free flying “Part 1” and Perelman screeches while Dickey Thrashes on ”Part 3.” The pitches are high, outside and filled with heat here.
Volume 4 (Hyperion) has bassist Michael Bisio rounding out the bottomless trio. There is a spacious flow to pieces like “Part 1” and the languid “Part 5” Shipp and Bisio tip toe around on the nimble yet rapid “Part 2” and Perelman squeals over Bisio’s percussive bass on “Part 3.” Shipp gets some solo space on “Part 6” and Part 10” letting his fingers do the talking on these intimate pieces.
Volume 5 (Rhea) is a quartet setting with Michael Bisio/b and Whit Dickey/b for one 16 minute “Part 1” track of frenetic bopping and six other scurrying moods.’ Shipp and Perelman meander through “Part 2” and the rhythm section flutters underneath on “Part 6” and creating a hip groove on “Part 5″ while Perelman throws pitches high and outside. Subtones and thick breaths are palpable on”Part 4″ while misty hues are intoned on”Part 7.”
Volume 6 (Saturn) is a duet setting between Perelman and Shipp, and the symbiotic relationship works like a conversation between friends as Shipp creates a spindly foundation for Perelman’s intonations on “Part 1” and “Part 7” while the tenor saxist hovers over, under, sideways and down on “Part 4” and “Part 2.” Space is used as a sound on “Part 10” and scurrying notes are sparked by both sides on the exciting “Part 5.” Sounds of a long-term friendship.
Volume 7 (Dione) concludes the series with a power trio including Andrew Cyrille at the drums. Cyrille is in inspired form on the kinetic “Part 1” and the dreamy “Part 6.” Shipp ruminates on the ominous “Part 2” and uses the piano strings as a foil to Perelman’s reed effects on “Part 7” Perelman digs deep with tones on “Part 4” and veers off the road on “Part 5.” Lots of flexed muscles here.