{"id":10709,"date":"2025-06-17T02:41:45","date_gmt":"2025-06-17T07:41:45","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=10709"},"modified":"2025-06-17T02:41:47","modified_gmt":"2025-06-17T07:41:47","slug":"review-armageddon-flower-perelman-shipp","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-armageddon-flower-perelman-shipp\/","title":{"rendered":"Review: Ivo Perelman and the Matthew Shipp String Trio\u2019s \u2018Armageddon Flower\u2019"},"content":{"rendered":"\n

If you have not yet read the two-part interview with saxophonist Ivo Perelman and pianist Matthew Shipp regarding Armageddon Flower <\/em><\/a>(TAO Forms, 2025), it provides important context to the recording. The album features a quartet with those two joined by bassist William Parker and violist Mat Maneri, in a chamber-like, drummer-less session to which these four are well accustomed. The overriding takeaway from the interview is that this unit surrenders control to a higher power where collective improvisation happens almost more at a subconscious level than a conscious one. That makes sense, given that these four have worked together in various configurations for nearly thirty years, and even longer for Shipp and Parker. Prolific is an understatement regarding Perelman and Shipp, having recorded forty-six albums as a duo or in small group settings since January 1996. Surely, you\u2019re getting the notion that this is \u201cnot their first rodeo.\u201d<\/p>\n\n\n\n

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