So prolific is this Brazilian saxophonist that it is hard to believe that he doesn’t actually rent rooms in the studios in which he records. Following the brilliant recent run of three albums for the Leo imprint, this session for Rare Noise finds Perelman’s energy undimmed. Continuity with previous work is provided by the presence of Joe Morris, while the new collaborator, Hungarian drummer Balázs Pándi, brings a personality to the table that is markedly different to that of regular sticksman Gerald Cleaver. Pandi has a drier snare and deep rumbling toms that darken and thicken the sound palette, and his patterns are generally tight and compact. Also interesting is the fact that Morris is on bass guitar rather than his usual double bass. The instruments have markedly different timbres, but if the former is a small axe compared to the tall tree of the latter, then the sharp, at times more pinched timbre still works to the advantage of the ensemble voice. It imbues the low end with an airy, slightly harking character that, far from the obvious rock resonances one might presume to attribute to it, leans towards a subversive, hyperactive electric folk quality, as if one were hearing a plugged-in mandolin or Spanish guitar. The inclusion of the occasional chord makes the overall canvas grainy and rugged, and when Morris launches into ostinatos with slight variations, there comes a strong sensation of trance, albeit a jolting, unsettling one. While the more relaxed strains of the title track are notable for a romantic tenderness if not artful pathos the ‘energy’ pieces, where the trio creates a whirlwind on a flexible, fluid pulse, could be Rahsaan Roland Kirk giving early bluesmen the fright of their lives. Another notable entry in the vast discography of the modern day saxophone colossus who has slipped under the mainstream radar.