Many factors go into the document you are listening to now. First, let’s deal with the rhythm section of Reggie Workman and Andrew Cyrille. The combined work history and experience between them is beyond the beyond–say Reggie Workman playing with John Coltrane and Andrew Cyrille having played with Cecil Taylor. But in 2023 or 2024, who cares or should care about that history? I certainly do not–maybe I should just talk for myself. Having played with Coltrane or Taylor is meaningless in my way of seeing things, in regards to being able to make a relevant statement in the music today. What makes this a great rhythm section besides their obvious tremendous skills on their instruments is that they show up with an open mind and spirit to the personalities who are there in the room with them. Every time I've done anything with Andrew Cyrille and I bring up his pedigree, he has always projected to me the vibe that we younger players on the scene energize him and keep his spirits young. That has never been said in words, but that is how Andrew's spirit has always made me feel–what I feel he projects to me. I have always felt that Andrew and Reggie are very generous souls.

Enter the leader, Ivo Perelman, who is as true and pure a representative of what the current zeitgeist in the music and on his instrument is. Having done so much work with Ivo, I think know him pretty well. Ivo has pursued a path on his instrument with monastic fervor and the focused dedication of the highest order. He has not elected to go the sideman route, but instead focused on his own recordings and vision from the get-go. Check out the song titles on this album. They echo the path that Ivo is on and what he takes himself through. His research into sound, alternative practice techniques, and the physics of sound vibration on the horn are awe-inspiring. He is in a constant search of the physics of his horn and the depth of his psyche. He has stayed away from the Coltrane model in many ways, both on the horn and by not putting his music in the context of overtly religious themes like it might be possible for some post-Coltrane models do (vibe off the Love Supreme vibe?). His spirituality is a sort of secular depth psychology that takes into account his roots–be they his Brazilian roots, his Jewish roots, or his connection to America from having lived here and having friends here. He has a basic respect for all religious traditions and his music is spiritual (whatever that means) and he obviously has a complete understanding of the Black American free jazz tradition. Of course, I am talking about the Ivo I know from having worked with him, and I am talking about this recording. I do not know all the ground Ivo has covered in his vast-vast-vast body of work. Ivo knows who he is–is very comfortable in his own skin. He never tries to act Black around black musicians. He shows up and is Ivo and that is why we love him. Ivo is funny and has quirks in his personality that give his friends material to make fun of him–in a loving way of course–humor is essential in this world to get through the day and Ivo understands that. There is zero pretense in Ivo's search and presentation. Therefore, he is authentic.

Chad Fowler who is newer on the scene is a musician of profound skill and sensitivity. As far as adding counterpoint and a counter-voice to complement the leader, you could not ask for more. It will be a tremendous pleasure to see what he comes up with on recordings throughout the coming years.

What makes this document delightful is the coming together of many factors: a great rhythm section with great experience who can distill that experience into the now, Ivo and Chad who are 100 percent of this time period, but who also have great joy playing together and who complement each other in a beautiful way. This is vibration music and if you open up and let it in, it can raise your spirits. It is also one more piece in the puzzle that is Ivo Perelman.

-- Matthew Shipp