Seeds, Vision and Counterpoint
Ivo Perelman
1998
Why This Album Matters
Seeds, Vision and Counterpoint, released in 1998 by Brazilian saxophonist Ivo Perelman, is a seminal work in the free jazz universe. The album features Perelman in a trio format with Dominic Duval on bass and Jay Rosen on drums, exploring the boundaries of improvisation and musical expression. Its sound is characterised by a passionate, powerful, and provocative delivery, which evokes comparisons to giants like Gato Barbieri and Albert Ayler, whilst maintaining an innate sense of lyricism and melody. This work stands out for its intensity and the exploration of long pieces, where the interaction between the musicians is the backbone of the sonic experience. Perelman, known for his visceral and spiritual approach to music, uses this album as a vehicle for his wildest musical excursions and as a profound expression of his spirituality. The album represents a point of synthesis for Perelman, uniting the born improviser and the conscious composer, resulting in music that is both free and structured. It is a testament to his incessant search for new sounds and a crucial piece for understanding the evolution of his artistic language in the avant-garde jazz scene.
Recording
The album Seeds, Vision and Counterpoint was recorded live in two tracks at Rocking Reel, located in East Northport, New York, on 24 September 1998. The album's production was overseen by Leo Feigin, and the recording was carried out by David Greenberg. The session was conceived as a meeting for Perelman to play with Dominic Duval and Jay Rosen, marking the first time the three musicians performed together.
Songs
Seeds, Vision and Counterpoint is composed of three tracks, with the latter two, the eponymous title track and 'Cantilena', being the most extensive and representative on the album. The track 'Seeds, Vision and Counterpoint' is approximately 20 minutes long, whilst 'Cantilena' extends for around 26 minutes. These long compositions are considered Perelman's wildest musical excursions up to that point, also serving as the first fully realised expression of his spirituality through music. The sound of Perelman's saxophone on this album is notably more 'sharp and concise' compared to earlier works, such as Sad Life, reflecting a series of sound studies he was exploring at the time.