Ivo Perelman and Gabby Fluke-Mogul – Joy (Ibeji, 2024)

By Sammy Stein

Ivo Perelman, who needs little introduction to readers of this column, has teamed up with stellar violinist Gabby Fluke-Mogul, an improviser, composer, educator, and organizer based in New York City with deep roots in experimental music. She has collaborated with Joanna Mattrey, Lester St Louis, William Parker, and many other musicians.

Released on Ibeji label on 15 ^th August 2024, Joy comprises nine tracks, each a dialogue between two musicians who blend well tonally (and atonally) but also demonstrate the art of keen listening.

Track one is a conversation pure and simple, the sax and violin interacting, checking and responding to each other, with sections where each gives a monologue of impressive form before the other picks up on a small phrase and teases it into longer interludes as if in response and arguing a point.

Track two is dynamic with short, sharpened interchanges between the two musicians, each at times taking the lead before deftly passing it over to the other. Perelman introduces long, sustained sighs that almost sound like yawns, reiterated on the violin before both players meander like companionable associates before the final frenetic section.

The album continues in this format with tracks where Perelman uses his instrument to set the tonality and melodic lines and others with Fluke-Mogul countering Perelman and taking the lead for the violin, at times suddenly relinquishing it as if seeing what the response will be, or taking a moment to consider her response to a new pattern subtly set by Perelman.

Perelman is creative on this recording, working the registers of his saxophone to fit the range of the violin, which means regular pitching between registers for him, which poses no problem. There are some interesting changes on tracks three and seven which work to play on the ears in a surreptitious manner and on some phrasing Perelman’s love for classical form is evident in several places, while Fluke-Mogul is having none of it and returns to the improvised free playing she executes o well, with Perelman following in delight. Track six, with its scrunches, blasts, and short melodic reposts from the saxophone is a short delight, and track seven is a glorious exploration of both well-phrased melodic and improvisation from both players.

It is intriguing to hear the range of techniques employed on the violin with Fluke-Mogul using both the strings and body with gentle percussive motifs and plucked, rasped, and bowed delivery. The dynamism is interesting too with both musicians using the forte and pianissimo, with just about everything in between as they react, respond, and lead. The release has the perfect subtitle – Duologues 2 and it is just that. A conversation of interest both to the musicians and the listener.