True to form New York-based Brazilian saxophonist Perelman unveils another burst of activity with three projects that could not be more different. Although all of the recordings are in small configurations each one has a markedly unique character and ambiance, and if the microscopic detail of Counterpoint does not suggest that it is from the same batch of releases that would include a tribute to the Greek opera legend Maria Callas, then so be it. The trio session with Mat Maneri and Joe Morris is indeed ambitious in its structural scope and emotional resonance, for the combination of the horn and two strings is anything but ‘pure’ chamber intimacy. There is a thrust and aggression in the music that pulls off the impressive feat of melding harmonic sophistication with what is at times a quasi-country blues sensibility, or rather a suggestion of Rahsaan Roland Kirk in league with Leroy Jenkins and off-the-scale Michael Gregory Jackson. Tenorhood pairs Perelman with longstanding collaborator Whit Dickey and the sax-drums duet again throws a few curveballs into the air, not least of which is the delicacy with which some of the pieces are executed in contrast to the high energy released by the two players at full tilt. Dickey's ability to create expressively jumpy, at times shuffle-like phrases that, crucially, are not thrashed into life, proves a good match for Perelman's carousel of piercing altissimo cries and caressing bass notes. The dedication of each piece to a tenor hero, from Mobley to Rollins, via Ayler, Trane and, fittingly for Perelman, Webster, underlines the essential premise of the work, though the fact that the title track is actually a drum solo is a nice rug-from-under-your-feet puller. Finally, Callas, is another duet that heads in another direction, as Perelman and pianist Matthew Shipp capture something of the distinctively turbulent beauty of the subject matter all the while safeguarding their longstanding chemistry. Most impressive is the movement, sometimes gradual, sometimes instant, from hush to thunder, in which high and low registers are simultaneously climbing and plunging well above and below expected limits, with no loss of control.