Ivo Perelman London String Project

An atypical string section is involved in this idiosyncratic string project. But what else would be expected from the dozen improvisation on two-CD involving Brazilian tenor saxophonist Ivo Perelman. For almost three decades he has challenged himself in an array of international musical situations, in configurations of all sizes, matching his ideas against those from every sort of instrumentation. Following from that the four additional players here make up anything but a standard string quartet. Experienced free musicians, this UK ensemble consists of violinist  Phil Wachsmann, violist Benedict Taylor, cellist Marcio Mattos and Pascal Marzan playing 10-string guitar.

Partners rather an accompanists, the few concessions to expected string pattern are when Mattos provides the equivalent of what would be a walking bass line or when Marzan advances the narratives with linear strums. Other than that, angled glissandi and stretches to near unravelling and detuning characterize the players arco responses to Perelman’s improving.. As well cumulative harshness is emphasized during those sequences when pressure is created by the string group by triple-stopping runs or sul ponticello strops.

Staccato and presto interface from the strings usually fits alongside the saxophonist’s  high intensity bites, honks and split tones that become more rugged as they ascend. This is expressed on a track like “Streams” as the snarling reed exposition is met by flat banjo-like twangs from  the guitarist, col legno stops from the cellist and violist as the violin advances the melody. These crying irregular textures can turn dissonance into dialogue as on “Strokes” and “Streets”. The later contrasts reed puffs within the horn’s body tube with a unison collection of sharp slashes against the string trio’s highest notes with only guitar plucks preserving horizontal flow. Swilling and swelling reed squeaks characterize “Strokes”, which also resounds with hard guitar comping, while sul ponticello slides continue to create new textures.

Not all tones are jarring and strident however. Without descending into glossiness a track like “Strips” is almost mellow, while  “Straws” could be an Aylerian ballad. The former vibrates past string squeakiness to attain a long-lined freshness as restrained picking and frails predominate. Creating a circular narrative the piece remains focused even as each player outputs a separate line. Perelman’s squeezed reflux adds to the connection. As for “Straws” the saxophonist’s clarion tones begin breathy and moderato as cello thumps and arco picks from the others set up a contrapuntal challenge whose squeaking variations soon join Perelman’s sopranissimo whines. Staccato swipes from Mattos and squawks from the saxophone  confirm the spikiness as well as the sleekness sf the improvisation.

Certainly no session for those expecting Stan Getz or Charlie Parker with strings. But a notable diversion which creates its own logical language.

–Ken Waxman

Track Listing: CD1: 1. Starts 2. Strolls 3. Strips 4. Streams 5. Straits 6. Stries CD2: 1. Streets 2. Straws 3. Strokes 4. Strains 5. Struck 6. Strewn

Personnel: Ivo Perelman (tenor saxophone); Phil Wachsmann (violin); Benedict Taylor (viola); Marcio Mattos (cello) and Pascal Marzan (10-string guitar)