By Don Phipps

The twenty tracks which comprise “Interplay” are nothing wanting a tour
de power, a rhythmically and musically numerous flamable interaction
between three virtuosos – Ivo Perelman (tenor sax), Barry Man (bass), and
Ramon Lopez (drums and tablas). Every monitor has its personal character and
musical atmosphere, and although the spontaneity of every composition is
clear, every stays distinctive in its emotional and cerebral context, making
this an album of considerable advantage.

Perelman’s means to articulate an excessive vary of notes permits lots of
the tracks to take flight – his runs and phrases stretch out like some
Evil Knievel bike stunt throughout an unlimited canyon. At different instances, his
enjoying resembles the twists and turns of a trapeze artist or ice skater
who does unattainable mid-air maneuvers. Likewise, these sonic maneuvers will
preserve listeners mouths open and agape. As his lips tighten on the
mouthpiece, the music splinters into excessive squeals and piercing cries, and
then, when enjoyable his embouchure, his tone remembers the breathy purity of
Ben Webster.

To not be outdone, Man wields the bass with vengeance, placing deep
plucks, full chordal strums, and bowing speedy or legato phrases that each
anchor and speed up. Actually Man has greater than 10 fingers – or no less than
that’s what his method suggests. Lopez too, manages to cowl the lure
set, making use of all the assorted drums to tie the music collectively in a
unfastened however definitive context. For instance, he’ll assault the tom toms in a
drumming model harking back to the late Ed Blackwell or use the cymbals to
accent or emphasize varied moments within the music. And when he’s so moved,
he affords up unique and flashy play on the tablas, bringing a definite and
unusual coloring to the musical explorations. The mixed impact of each
Man and Lopez offers grounding, shifting although it might be, for the
leaping articulations of Perelman’s energies.

Take Half 1 Observe 6, which could be described as exploring a towering
mountain forest. Round every bend is a shock – a jutting boulder, a
stream cascading right into a waterfall, massive ruts, bushes that stretch to the
sky, brambles, moss coated trunks, massive rock cliffs, vistas. And this
variety is exhibited all through the album. Half 1 Observe 4 vaguely reminds
one in all Native American chants. Half 2 Observe 1 begins with a gradual drawl that
affords up emotions of a late evening out. Half 2 Observe 5 creates a climbing
depth that reaches an apex.

Is that this album an immediate traditional? One may make a case. Actually, within the
lexicon of free improvised music, it stands out as a collaborative effort
that permits every of the musicians to maximise their virtuosity inside
conceptual themes which prolong the sound of music. Extremely really useful.