Another batch of releases reflects the unflagging faith that the Brazilian saxophonist has in his patented modus operandi. His ensembles of choice are mostly quartets and duos that are drawn from a familiar pool of players to which there is an addition from time to time. In other words, Perelman has established an aesthetic and a specific vocabulary and his ever-growing discography, centred on spontaneous composition-improvisation, seeks to widen and enrich it with new nuance, rather than opt for a radical overhaul.

Breaking Point and Soul are the two quartet albums and they contrast considerably in both character and quality. The former is a session in which the stream of ideas too often runs onto dry ground, as Mat Maneri's viola is largely drowned out by the other instruments, even though the more sedate passages reveal a creative potential that is not quite fulfilled.

The latter, however, is a work in which the interaction, dialogue and collective energy are gripping, above all for the ability of the group to mine areas of rhythmic-harmonic invention that are anything but stale. That means a groove blurs the line between steadiness and stutter, flitting between a two and three beat pulse with all the zest of a see-saw, while coming in and out of recognised harmony so that the music produces a kind of atavistic blues-funk that reminds us that these genres were not originally as defined by formula as we might think. Interestingly, Blue, the duet with Joe Morris, also has some of that earthiness, with the use of an acoustic guitar by Morris imparting a countryish flavour that is well enhanced by the imaginative pirouettes of the players. Many of the pieces are like lullabies in which the swirling horn and finger-picking guitar evoke stinging nettles as much as honeysuckle. Corpo finds Perelman back in league with Matthew Shipp, one of his most consistent and simpatico partners, and the result is brilliant, a collection of mostly short vignettes that again highlights the strength of the mutable, unpredictable, but pounding groove that defines the highlights of Breaking Point, as well as a fine use of space and understatement. Finally, The Hitchhiker is another duet, this time with Euro jazz legend, vibraphonist Karl Berger, which produces music with a waspish charm, well summarised by the key song: ‘Extremely Loud While Incredibly Quiet’.