This is the second CD Ivo Perelman recorded with Karl Berger. However, on the first CD ( CD LR 712 - Reverie) Karl played piano while this time he played vibraphone. This was the first time ever that Ivo played with vibraphone. Both albums are very different because of the nature of the instruments. Playing with vibraphone opened the door for Ivo to show his kinder, gentler side. According to Ivo, Karl happened to be more 'European,' more romantic.
Through his unique virtuosity, fierce lyricism and unbound creativity, Ivo Perelman has become one of the most notable musicians of our time. "If you call Ivo's music free jazz, you minimize the magnitude of his accomplishment" (Neil Tesser). On The Other Edge, along with the exceptional talents of Matthew Shipp, Michael Bisio and Whit Dickey, Ivo continues to break new ground while conjuring genres ranging from ragtime to swing to bop to the avant-garde.
Soulstorm is a remarkable joint venture between gifted saxophonist Ivo Perelman, and two of the most distinguished string players around, cellist Daniel Levin and double bassist Torbjorn Zetterberg. Taking its title from a book by Brazilian writer Clarice Lispector, Soulstorm confirms the universality of jazz as a language for all nations in the global age. This is a transnational trio in every aspect of the music heard in this double album – the musicians converse fluently with one another, but each with his own accent and dialect.
Appearing here in a double-trio lineup with bassist and drummer Dominic Duval and Jay Rosen going head-on with Mark Dresser and Gerry Hemingway, tenor saxophonist Ivo Perelman leads the session captured on Suite for Helen F. (the "F" refers to abstract expressionist painter Helen Frankenthaler), one of the most monumental free jazz outings of recent years, a truly Mahlerian opus in seven parts lasting 107 minutes. Those familiar with earlier Perelman outings, notably on the Leo label, will be familiar with his own paintings, in which, in keeping with the kind of music he makes, pigment seethes in thick layers; colors, shapes, and textures collide; and semi-recognizable features melt into abstraction in a frenzy of creation.
While Ivo Pogorelich established his reputation performing mainly Romantic repertoire, his few forays into the Baroque reveal him to be an equally engaging- if not eccentric musician here as well. In quicker movements, such as the opening Preludes of the English Suites for instance Pogorelich's rhythmic control and contrapuntal clarity are simply amazing. Slower movements likewise are handled with remarkable intensity and delicacy. Pogorelich's performances of four Scarlatti sonatas concluding the program as well are wonderfully animated and knowing.