Ivo Perelman, Tom Rainey - Duologues 1 Turning Point (Ibeji Music, 2024)

By Don Phipps

Stellar spontaneous compositions are a hallmark for Ivo Perelman. And his collaboration with drummer Tom Rainey on Duologues 1 Turning Point is a perfect illustration. The improvs shift mood and explore feelings of driving intensity or subtle repose. What astonishes most about Perelman is the precision he brings to his sax playing – whether it is lightning runs, sharp staccato tonguing, or slurs that slip and slide like an ocean-bound eel. But more than any of this is his tone – a tone that recalls Ben Webster – an abstract Ben Webster of course. No matter how avant garde the note series, the tone is ever present, and like Webster’s, is full throated and open with a special soulful throttle. This is especially noteworthy, given Ivo’s style of passionate playing.

Like Perelman, Tom Rainey has long been a fixture on the new music scene. His work with Tim Berne and Mark Helias is significant [check out his drumming on Berne’s excellent Science Friction album (Screwgun 2002) or his trio work with Helias and Tony Malaby on Helias’s set of Open Loose albums]. In 2022, Rainey worked with his wife, tenor saxophonist Ingrid Laubrock, and guitarist Mary Halvorson on the wonderful Combobulated. And just this year, Rainey joined Perelman and Helias on Perelman’s excellent Truth Seeker album.

Both Perelman and Rainey bring their A game to the studio. And what makes this effort significant is the way the musicians play off each other, in arcing conversations. Hear how Rainey’s colorful all over drumming – measured and tasteful, yet at times, explosive (check out the ending of Track 6) - offers a colorful background to Perelman’s superb sax lines – lines that seem to stretch the saxophone register like a rope pulled taut and then released.

Take “Track One,” which is full of shifts and turns. Like an automobile skirting around corners, slowing suddenly, then revving back up to full speed, the music probes, cajoles, and toward the end, explodes. Or “Track Two,” Perelman’s bluesy wails mesh perfectly with Rainey’s loose toms, snare, and cymbals.

Perhaps the album’s most intense tracks are “Track Six” and “Track Seven.” On “6,” Perelman opens with a beautiful flurry atop Rainey’s action across the trap set. Then he develops challenging sax explorations that run the length of the saxophone keys. Rainey responds with a heated, funky, head-nodding beat, an unusual yet precise rhythmic development, one that incorporates all the drums and the high hat/cymbals. Check too his gentle bass drum taps - just heavy enough to establish the rhythm without being overbearing. As the number progresses, Rainey’s work become more aggressive, then very free as all over drumming takes over. Perelman hits the intensity bar as well, with waterfall runs that ultimately finish with hard bites on the reed - taking the music to the stratosphere of high notes.

On “Track Seven,” Rainey shows off his brush work, and Perelman slurs along like a person might stagger down an alley after a hard night of drinking. The piece evolves, with Perelman’s high wails -almost screeches - the highlight, and Rainey leans in with his brushes on the toms and snare. Listen to Rainey’s control of the bass drum beats while channeling energy across the trap set – a crossing that includes dance taps on the cymbals, snares, and toms, all the strokes extremely delicate and precise. Perelman’s creative running motifs float like a butterfly and sting like a bee (my apologies to Muhammad Ali), and as the piece ends, he hits a supreme high note that extends outward to some unknown horizon.

Duologues 1 Turning Point is a conversation between two jazz giants – the discussion at times playful, serious, penetrating, and full of anxious energy. This musical discussion is open to all of us. Enjoy!