LEE/PALMER/BENNETT (Hamilton)
With its “chamber jazz” lineup of tenor & soprano saxophone (Connor Bennett), electric guitar (Chris Palmer) and double bass (David Lee), the exciting new trio, Lee/ Palmer/ Bennett, has made a special niche for itself in Hamilton’s expanding new music scene. Radical New Zealand guitarist Palmer, saxophonist Bennett (known for his work in Haolin Munk and Eschaton) and bassist David Lee (veteran of such groups as Eric Stach, the Artists Jazz Band, and the Bill Smith Ensemble) take a variety of new approaches to planning and devising an especially focused and mature style of group improvisation. Acoustic music with electric intensity!
IVO PERELMAN SOLO
Appraisals of the São Paulo-born Perelman's unique saxophone approach range from “tremendously lyrical” (Gary Giddins) to “a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken” (The Wire). His perpetual thirst for new colours and ideas has led him in a number of exciting directions throughout his career, spurring his much-touted exuberance. In addition to cultivating creative bonds with the likes of William Parker, Joe Morris and Matthew Shipp (with whom he will perform), his expansive discography includes upwards of 50 titles. He's also devoted significant energy to researching the pre-valve natural trumpet of the 17th century, which has aided him to discover agility in the tenor saxophone’s tricky altissimo range. He's also a visual artist, whose paintings and sketches have been both exhibited and collected.
LES FILLES DE ILLIGHADAD
Hailing from rural Niger, Les Filles de Illighadad have risen to international prominence as some of the foremost ambassadors of Tuareg music worldwide. Founder Fatou Seidi Ghali is alleged to be the first professional female guitarist to have emerged from the cultural group and brings her own unique voice to the so-called "Desert Blues" genre. Since their 2016 self-titled debut on Sahel Sounds, they've continued to cultivate their own singular take on the Saharan guitar sound described "heavy, meditative, and tender" by the New Yorker's Amanda Petrusich.