Ivo Perelman - Brass & Ivory Tales (Fundacja Słuchaj)

Great saxophonist, improviser Ivo Perelman celebrates its 60th birthday this year. Brass & Ivory tales - 9 CDs box-set is a gift for this phenomenal musician, great human being, and marvelous artist. Nine studio sessions with nine top and most creative pianists like Dave Burrell, Marilyn Crispell, Aruan Ortiz, Sylvie Courvoisier, Angelica Sanchez, Aaron Parks, Agusti Fernandez, Craig Taborn, and Vijay Iyer in a beautiful box with liner notes from Grammy Award Winner writer Neil Tesser

IVO PERELMAN - BRASS & IVORY TALES

CD 1: Tale One with Dave Burrell

CD 2: Tale Two with Marilyn Crispell

CD 3: Tale Three with Aruán Ortiz

CD 4: Tale Four with Aaron Parks

CD 5: Tale Five with Sylvie Courvoisier

CD 6: Tale Six with Agustí Fernández

CD 7: Tale Seven with Craig Taborn

CD 8: Tale Eight with Angelica Sanchez

CD 9: Tale Nine with Vijay Iyer

CD1: Tale One - Ivo Perelman with Dave Burrell

01. Chapter One 37.09

02. Chapter Two 20.02

Total Time: 57.11

Ivo Perelman – tenor saxophone

Dave Burell – piano

Ivo Perelman ivomusic/ ASCAP, Dave Burrell Lanikai Sounds Publ. Company (BMI)

Recorded January 2020

CD2: Tale Two – Ivo Perelman with Marilyn Crispell

1. Chapter One 6.56

2. Chapter Two 5.12

3. Chapter Three 7.46

4. Chapter Four 2.55

5. Chapter Five 5.23

6. Chapter Six 3.23

7. Chapter Seven 6.35

8. Chapter Eight 7.41

9. Chapter Nine 6.51

Total Time: 52.42

Ivo Perelman – tenor saxophone

Marilyn Crispell – piano

Ivo Perelman ivomusic/ ASCAP, Marilyn Crispell Crispell Publishing/BMI

Recorded March 2014

CD3: Tale Three – Ivo Perelman with Aruán Ortiz

1. Chapter One 9.25

2. Chapter Two 3.21

3. Chapter Three 4.02

4. Chapter Four 11.01

5. Chapter Five 10.36

6. Chapter Six 10.15

7. Chapter Seven 7.02

Total Time: 55.40

Ivo Perelman – tenor saxophone

Aruán Ortiz – piano

Ivo Perelman ivomusic/ ASCAP, Aruan Ortiz Naurazitro Music/SESAC

Recorded December 2017

CD4: Tale Four – Ivo Perelman with Aaron Parks

1. Chapter One 19.14

2. Chapter Two 10.16

3. Chapter Three 10.12

Total Time: 39.42

Ivo Perelman – tenor saxophone

Aaron Parks – piano

Ivo Perelman ivomusic/ ASCAP, Aaron Parks Invisible Cinema Music (BMI)

Recorded March 2020

CD5 Tale Five – Ivo Pereleman with Sylvie Courvoisier

1. Chapter One 3.32

2. Chapter Two 3.04

3. Chapter Three 5.04

4. Chapter Four 5.45

5. Chapter Five 4.33

6. Chapter Six 5.28

7. Chapter Seven 5.29

8. Chapter Eight 7.41

9. Chapter Nive 2.39

10. Chapter Ten 5.17

11. Chapter Eleven 5.55

Total Time: 54.26

Ivo Perelman – tenor saxophone

Sylvie Courvoisier – piano

Ivo Perelman ivomusic/ ASCAP, Sylvie Courvoisier Sylvie COURVOISIER MUSIC ASCAP 560146375

Recorded March 2018

CD6 Tale Six – Ivo Perelman with Agustí Fernández

1. Chapter One 8.45

2. Chapter Two 6.11

3. Chapter Three 8.28

4. Chapter Four 4.02

5. Chapter Five 5.28

6. Chapter Six 7.21

7. Chapter Seven 6.23

8. Chapter Eight 2.11

9. Chapter Nine 5.02

Total Time: 54.10

Ivo Perelman – tenor saxophone

Agustí Fernández– piano

Ivo Perelman ivomusic/ ASCAP, Agustí Fernández SGAE (Sociedad General de Autores de España)

Recorded July 2017

CD7 Tale Seven – Ivo Perelman with Craig Taborn

1. Chapter One 26.20

2. Chapter Two 4.40

3. Chapter Three 5.22

4. Chapter Four 19.52

5. Chapter Five 8.37

Total Time: 65.01

Ivo Perelman – tenor saxophone

Craig Taborn – piano

Ivo Perelman ivomusic/ ASCAP, Craig Taborn LightMadeLighter Publishing BMI

Recorded June 2021

CD8 Tale Eight – Ivo Perelman with Angelica Sanchez

1. Chapter One 3.35

2. Chapter Two 3.04

3. Chapter Three 5.47

4. Chapter Four 7.40

5. Chapter Five 8.18

6. Chapter Six 8.33

7. Chapter Seven 6.38

8. Chapter Eight 7.45

9. Chapter Nine 9.51

Total Time: 61.29

Ivo Perelman – tenor saxophone

Angelica Sanchez – piano

Ivo Perelman ivomusic/ ASCAP, Angelica Sanchez Sancha Music/ Sesac

Recorded June 2021

CD9 Tale Nine – Ivo Perelman with Vijay Iyer

1. Chapter One 17.10

2. Chapter Two 3.36

3. Chapter Three 25.27

4. Chapter Four 14.26

5. Chapter Five 2.28

Total Time: 63.16

Ivo Perelman – tenor saxophone

Vijay Iyer – piano

Ivo Perelman ivomusic/ ASCAP, Vijay Iyer Sonocentric Publishing (ASCAP) administered by Kobalt Music

Recorded May 2021

PREORDER

Devin Gray - Melt All the Guns (feat. Ralph Alessi & Angelica Sanchez) June 2021 Rataplan Records

Melt All the Guns.

Dear friends and music supporters, I hope this note finds you well.

I am very happy to share this project with you. The music on this recording was composed during the fall of 2019 after several gun violence incidents took place. The increase of gun violence over the years and particularly in the United States has upset me so much that I need to speak out. Simply put, we need to expand awareness and work for a future free from gun violence. Today, June 4th is the 7th National Gun Violence Awareness Day. In the link below there are local events and resources including the Wear Orange Campaign that I recommend your involvement.

This trio recording features the incredible Ralph Alessi and Angelica Sanchez, which was luckily captured after we played some concerts in Canada and the States, and uniquely explores expressions of my feelings around those infuriating times albeit pre-pandemic. I hope you can support not only the impact of the song titles, but also all artists you know and love during these challenging times.

Lastly, as the reopening continues, please mark your calendars now as we will be celebrating the release of this music on July 9th in Brooklyn at the wonderful SoapBox Gallery with limited in person audience and live stream concert!

I truly hope to see you all soon!

My Best,

Devin Gray

1. Think About It 03:26

2. Jet Lag Party 03:35

3. Micro Waves 04:30

4. Melt All the Guns 04:31

5. Protect Our Environment 03:25

Ralph Alessi - Trumpet

Angelica Sanchez - Piano

Devin Gray - Drums & Compositions

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Angelica Sanchez with Marilyn Crispell – How to Turn the Moon (Pyroclastic Records)

Angelica Sanchez shapeshifts form and formless

alongside Marilyn Crispell with release of How to Turn the Moon

“Ms. Sanchez improvises with crisp articulation and muscular command. Her chords, both dense and

concise, offset free improvisations that reflect careful attention to narrative clarity.”

— Giovanni Russonello, The New York Times

For the past two decades, pianist-composer Angelica Sanchez has shocked, bent and blurred lines and perceptions that separate composition from improvisation. How to Turn the Moon, her first release on Pyroclastic Records, offers a momentary culmination of that expression.

Within the expansive nature of her piano duo debut, Sanchez explores intimacy and transformation alongside creative colleague and mentor, pianist-composer Marilyn Crispell, whom Sanchez first heard on a Fred Anderson record when she was just 16. Together, the artists allow their shared moments to expand Sanchez’s short-form written compositions and co-create spontaneous ones.

Across 10 tracks of original material, Sanchez and Crispell find points of departure, reentry and rippling expansion. They explore their own interpretations of space and texture, seeking always to complement each other’s expressions – and express a truthful sound. The idea of creating short compositions designed for expansion – designed for players to begin in the middle of the form, should the moment desire it – excites and challenges Sanchez. “It’s not such an easy thing to figure out,” she says, “and it only works with people that you trust.”

“Windfall Light” at times sounds scripted – even reminiscent of a written suite. Entirely improvised, the track serves as one of many extended moments of deep, active listening between Sanchez and Crispell that settles and expands and transforms. “There are certain parts where it almost felt like we went into set harmony,” says Sanchez, who contends she and Crispell continually allowed for shifting in context throughout the piece.

“Sullivan’s Universe,” named for a painting by folk artist Patrick Sullivan, features an improvised gesture but for the short-form composition introduced in its entirety as the end of the track. Another instance of compositions as codas appears on “Ancient Dream,” a tune beginning in wild strummed resonances from inside the piano.

Sanchez tends to let melody lead her though written form and improvised expression, rendering a range of texture within her playing. “Lobe of the Fly” includes parallel passages as well as expressions of counterpoint, while “Ceiba Portal” – the longest written form on the recording – according to Sanchez, moves into “circular melodies” toward the end of the piece.

Drawing inspiration from patterned and un-patterned ways the human form imitates nature, Sanchez nurtures her expression away from the piano as earnestly as she does in front of it. As many have on past records, track titles on How to Turn the Moon emerge from her varied connections to nature and neuroscience. “Twisted Roots” relates in part to the composition’s snaky counterpoint, and evokes the underground image of a tree. An iteration of that same image prompted titling “Lobe of the Fly,” which Sanchez named for Santiago Ramón y Cajal’s drawings that feature cells in the optic lobe of a fly and resemble trees and roots.

She titled “Calyces of Held” for one of the central nervous system’s largest synapses, meditating on a related idea that cells often communicate with one another despite a lack of synapse connection.

This kind of profound, unfacilitated communication serves the creative union between Sanchez and Crispell. The two had been nurturing a friendship for more than a year when they entered into an artistic partnership with the intention of recording How to Turn the Moon. After roughly six months of ideas sharing, they booked two days to rehearse and record at Nevessa Production Studios near Woodstock, New York – Crispell’s preferred recording space. “We didn’t discuss much before the recording,” says Sanchez, “we just sat down, enjoyed each other’s presence and went for it.” On the album, engineer Chris Andersen helps serve its subtle transitions from scripted to spontaneous gesture, and enhance both artists’ tendencies toward mutual experimenting.

Though she’s drawn to through-composed music, “playing without a net,” alongside someone she trusts and reveres inspires and truly challenges Sanchez. “I still get excited when I sit down at the piano,” she says, “because you don’t know what’s going to happen.” How to Turn the Moon rises in earnest to that challenge.

Pianist, composer and educator Angelica Sanchez has released a number critically-acclaimed albums as a leader over the course of her evolving career. The Arizona native moved to New York in 1994, seeking opportunities to develop artistic relationships with such similar-minded artists as Marilyn Crispell, Wadada Leo Smith, Paul Motian, Richard Davis, Jamaladeen Tacuma, Nicole Mitchell, Rob Mazurek, Tim Berne and Mario Pavone. Her work has received favorable press from local, national and international outlets, including JazzTimes, NPR, The New York Times, New York City Jazz Record and Chicago Tribune. Her most recent trio project Float The Edge featuring bassist-composer Michael Formanek and drummercomposer Tyshawn Sorey and has received worldwide praise from critics and peers. Sanchez holds a Master of Fine Arts in Jazz Arranging from William Paterson University, and currently works as lecturer at Princeton University.

Marilyn Crispell has been a composer and performer of contemporary improvised music since 1978. For 10 years, she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble, and has performed and recorded extensively as a soloist and with players across the U.S. as well as internationally. She’s worked with dancers, poets, filmmakers and visual artists; as an educator, she’s led workshops in improvisation. Crispell is the recipient of three New York Foundation for the Arts Fellowship grants, a Guggenheim Fellowship and a Mary Flagler Cary Charitable Trust composition commission.

1. Lobe of The Fly 02:45

2. Ancient Dream 05:19

3. Calyces of Held 08:05

4. Space Junk 03:10

5. Celba Portal 08:10

6. Windfall Light 05:01

7. Twisted Roots 02:32

8. Sullivan's Universe 07:00

9. Rain In Web 03:39

10. Fires In Space 04:19

Angelica Sanchez - Piano (left channel)

Marilyn Crispell - Piano (right channel)

All compositions are by Angelica Sanchez except Space Junk, Windfall Light and Rain in Web by Angelica Sanchez & Marilyn Crispell

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The Angelica Sanchez Trio - Float the Edge (CLEAN FEED RECORDS 2017)

In her piano playing as well as her compositions Angelica Sanchez seeks out the lyrical heartbeat within any avant-garde storm.

                              - The New York Times

Sanchez's provocative writing - full of evocative harmonies and open-ended forms showcases her flair for counterpoint and marks her as a formidable talent...

                                       - JazzTimes Magazine

Sanchez is involved with free jazz that has structure, if that isn't too much of a contradiction; it has a loose, cantankerous energy, but it's given shape by some smart writing.

                 -The New York Times

Pianist/Composer/Educator Angelica Sanchez moved to New York from Arizona in 1994. Since moving to the East Coast  Sanchez has played with such players as: Wadada Leo Smith, Paul Motian, Richard Davis, Chad Taylor, Chris Lightcap, Rob Mazurek, Vincent Chancey, Susie Ibarra, Tim Berne, Mario Pavone, Mark Dresser, Ben Monder and many more. Sanchez leads many groups including her own quintet featuring Marc Ducret, Tony Malaby, Drew Gress, and Tom Rainey. Her music has been recognized in international publications like, " Jazz Times Magazine", The New York Times, The Chicago Tribune, and many more.

She was also the 2008 recipient of the French/American Chamber Music America grant and the 2011 Rockefellers Brothers Pocantico artist residency. Her CD “Life Between” was chosen as one of years best recording 2009 in "The New York City Jazz Record (formerly AllAboutJazz-New York)."  Her debut solo CD “A Little House” was featured on NPR’s Weekend Edition in May 2011. Her latest CD “Wires & Moss” featuring her Quintet was chosen as one of best Releases of 2012 in “The New York City Jazz Record (formerly AllAboutJazz-New York).” Her Duo CD “Twine Forest” with Wadada Leo Smith received Honorable Mention as a best release in 2013 in "The New York City Jazz Record."

Angelica has a Master's in Arranging from William Paterson University.

1 Shapishico

2 Float the Edge

3 Pyramid

4 Sowf (Substance of We Feeling)

5 Hypnagogia

6 What the Birds Tell Me

7 The Traveler

8 Black Flutter

Angelica Sanchez - piano

Michael Formanek - double bass

Tyshawn Sorey - drums

Kris Davis - Duopoly (2016)

01. Prairie Eyes 06:04

02. Surf Curl 04:15

03. Fox Fire 08:58

04. Beneath The Leaves 05:58

05. Eronel 05:29

06. Dig & Dump 06:04

07. Trip Dance for Tim 06:34

08. Prelude to a Kiss 04:21

09. Don Byron 04:04

10. Tim Berne 04:05

11. Marcus Gilmore 03:34

12. Billy Drummond 04:15

13. Angelica Sanchez 04:12

14. Craig Taborn 04:27

15. Julian Lage 03:24

16. Bill Frisell 03:09

Kris Davis: piano

Don Byron: clarinet

Tim Berne: alto saxophone

Marcus Gilmore: drums

Billy Drummond: drums

Angelica Sanchez: piano

Craig Taborn: piano

Julian Lage: guitar

Bill Frisell: guitar

Pianist, composer and bandleader Kris Davis, just named one of Downbeat magazine’s “25 for the Future,” has made outstanding music in trio, quartet and quintet formats; her most recent output ranges from solo piano (Massive Threads) to an octet with four bass clarinets (Save Your Breath). The next logical step seemed to be duo. After brainstorming with producer David Breskin, Davis was ready to make 'Duopoly,' a series of duos with eight colleagues, all highly regarded and accomplished improvisers. Each duo would play two pieces, one composed and the other free, 16 tracks in all. The album is out September 30th, 2016 on Davis' imprint, Pyroclastic Records.

“We decided to limit the instrumental palette of the guests,” writes Davis in her booklet text, and so she chose guitarists Bill Frisell and Julian Lage, pianists Craig Taborn and Angelica Sanchez, drummers Billy Drummond and Marcus Gilmore, and reed players Tim Berne and Don Byron. It was only later that the album’s two-part structure emerged, and within that structure, “a symmetrical, palindromic sequence,” Davis writes, “with what [Breskin] calls a ‘mobius twist’ in the middle.” In other words, the players rotate once through and then again in reverse order, with Frisell starting and finishing. The midway shift from structured writing to free improv feels entirely fluid and continuous. 

“Additionally,” writes Davis, “the tracks are paired by instrument, for cohesive focus and the suggestive hint (or illusion) of a ‘phantom duo’ between each of the guitarists, pianists, drummers, and horn players.” 

The DVD portion of Duopoly brings the music even more vividly to life: “We also chose to make a visual record … which we hoped would be as live and uncompromising as the music. Shot by Mimi Chakarova with one fixed camera and one handheld, the goal was for this film to have a kind of 1:1 or indexical relationship to the music itself.”

With Davis at the center of it all, her pianism a marvel of dynamic control, harmonic mystery and sonic invention, Duopoly opens with the richly contrasting sounds of Frisell and Lage: first ethereal Telecaster-plus-effects on “Prairie Days,” then the pure, warm timbre of Lage’s 1939 Martin acoustic on “Surf Curl.” The duos with Taborn and Sanchez bring out yet more facets in Davis’s playing: “Two pianos is a unique experience,” she remarks. “I can lose myself in the sound. Angie and Craig are such great listeners, and it was an especially freeing and spiritual experience for me.” 

The drummers, too, are a study in contrast, hailing from different generations: Drummond the veteran, Gilmore the rapidly rising newcomer, both with complementary approaches to sound and pulse and a remarkable gift for listening. Berne and Byron, on their respective free improvisations, create one of the album’s most captivating transitions — from legato, middle-register clarinet to wrenching, extreme extended techniques on alto saxophone. 

There are five Davis originals as well as two standards, in keeping with Davis’s approach on her solo piano discs: the Hakim/Sulieman/Monk classic “Eronel” features Drummond while Ellington’s “Prelude to a Kiss” features Byron in a gorgeously oblique clarinet rendering. There is one piece by Sanchez, “Beneath the Leaves,” a satisfying contrast with Davis’s vehicle for Taborn, “Fox Fire.” Davis’s original piece for Berne, “Trip Dance for Tim,” takes inspiration from the title of a great Berne composition, “Hard Cell (for Tom).” 

The free pieces still convey a structural logic, as Davis remarks in the notes: “In some cases, the free playing sounds more ‘composed’ than the tunes do.” Some are first takes; other pieces needed more thinking through: “There was reconfiguration, experimentation, exploration: these were searching dialogues. This album captures the rawness, intimacy, and immediacy of that process.”

Released September 30, 2016 

Music recorded live at Sear Sound in New York City May 21st, 22nd, & 31st, 2015 

No Mixing, No Editing, No Overdubbing, No Punching 

Gutbucket Digital > All Dialogue Guaranteed Verbatim 

DAVID BRESKIN - producer 

RON SAINT GERMAIN - sonic photographer 

JOE GASTWIRT - mastering engineer 

SPOTTSWOOD ERVING - art direction 

NICOLE MILLER - layout 

MIMI CHAKAROVA - still + moving pictures 

STEPHANIE MECHURA - movie editor 

Composition Credits 

1>Prairie Eyes, 2>Surf Curl, 3>Fox Fire, 6>Dig & Dump, and 7>Trip Dance for Tim by Kris Davis (Rye Eclipse Music, BMI) 

4>Beneath The Leaves by Angelica Sanchez (Sancha Music, Sesac) 5>Eronel by Sadik Hakim, Idrees Sulieman,and Thelonious Monk 

(Thelonious Music, BMI) 

8>Prelude to a Kiss by Duke Ellington (EMI Music Publishing) 

9<Don Byron by Kris Davis and Don Byron (Nottuskegeelike music, BMI) 

10<Tim Berne by Kris Davis and Tim Berne (Party Music, BMI) 11<Marcus Gilmore by Kris Davis and Marcus Gilmore 

(Marcus Gilmore Music, BMI) 12<Billy Drummond by Kris Davis and Billy Drummond 

13<Angelica Sanchez by Kris Davis and Angelica Sanchez (Sancha Music, Sesac) 

14<Craig Taborn by Kris Davis and Craig Taborn (Light Made Lighter Music, BMI) 

15<Julian Lage by Kris Davis and Julian Lage (Julian Lage Music, BMI) 

16<Bill Frisell by Kris Davis and Bill Frisell (Friz-Tone Music, BMI) 

All Kris Davis credits, tracks 9-16 (Rye Eclipse Music, BMI) 

General Grant Valentine ably assisted Ron Saint Germain at Sear Sound 

Bill Frisell appears courtesy of OKeh Records / Sony Classics 

Julian Lage uses D’Addario Strings and Blue Chip Picks 

Billy Drummond plays Gretsch Drums, Zildjian Cymbals, Vic Firth Drum Sticks 

Marcus Gilmore plays Craviotto Drums, Remo Drum Heads, Zildjian Cymbals and Innovative Percussion sticks 

David Breskin wishes to thank Barbara & Don Ruhman, Billie Miro Breskin, Thelonious Blue Breskin, Isabel Breskin & Ornette

Kris Davis Website