He left Berklee after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: 'I would go berserk, just playing my own thing,' he has stated.Įmboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane (all of whom would later be cited as precedents for Perelman's own work). But although these artists' romantic bent still shapes Perelman's voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. Final result: this is one of the discographic pearls of the year 2016.'Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments - including cello, clarinet, and trombone - before gravitating to the tenor saxophone. Listening to this music, we finally discover that there’s not much separating rock and jazz, at least when dealing with factors like jamming, exploring sound and having a cosmic understanding of creative freedom. Putting it very simply: it wasn’t necessary.

The curious thing, in this collaboration, is that the guitar-bass-drums power trio never goes out of their track to meet Brotzmann half way and their guest doesn’t try any compromise to approach them. Blues”, by Iggy Pop &The Stooges.īrotzmann had multiple experiences in the proximities of rock, from the group Last Exit, with Sonny Sharrock, Bill Laswell and Ronald Shannon Jackson, to Full Blast, in the company of Marino Pliakas and Michael Wertmuller, going through his partnerships with his son Caspar Brotzmann and with Fushitsusha, the band lead by Keiji Haino.

The trio used to combine a saxophone to their music, usually choosing Rodrigo Amado, a first line figure of the jazz scene in Portugal, and also the late Steve Mackay, the tenor we hear on the pioneering (in what concerns this kind of mixtures) “L.A. Everything seemed to announce it on the paths of the Portuguese stoner rock band Black Bombaim and of the German free jazz saxophonist Peter Brotzmann. This is a meeting written in the psychedelic sky.

Black bobaim peter brotzmann