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Ivo Perelman: Sad Life

I cannot recommend either of these albums. I can appreciate Perelman’s technique on the tenor saxophone, which allows him to ricochet off low B-flat and carom and slide his way through lots of scales, arpeggios, and saw-tooth designs up into the altissimo range and back, but a steady diet of sounds like a flock of chatty geese or like someone rubbing a taut rubber balloon taxes my interest. I suppose this is confrontational, or shock, music, and presumably it is a way of expressing contempt for the musical status quo-with apologies to Archie Shepp and Albert Ayler, who did the same sort of thing 30 years ago.

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