Luis Perdomo Trio
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Luis Perdomo Trio

New York City, New York, United States | INDIE

New York City, New York, United States | INDIE
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Luis Perdomo's time as an accompanist to Ravi Coltrane has served him well, introducing this very fine young yet experienced player to modern jazz audiences. He's impressive as a modal player with energy and chops to burn, but during this trio effort shows a sensitive side, while not opting for tame or watered-down mainstream jazz. Bassist Hans Glawischnig and drummer Eric McPherson are both quite capable players who also understand how to turn the volume down just a touch in order to find balance and symmetry. The Venezuelan-born, N.Y.C.-based Perdomo is also an accomplished composer, writing five of the 11 selections, while choosing three others out of a Latin-based grab bag and interpreting three well-known standards. Enjoying his stentorian options to extend his remarks on familiar melodies, the pianist really stretches out on the waltz bop version of Kurt Weill's "Speak Low," skating around it in implied phrases. The talented pianist digs right into a solo version of Bud Powell's difficult "Oblivion," and reads "Almost Like Being In Love" straight-forward with the trio. He's picked some relatively unknown heritage material like "Piensa en Mi" and "Chimanta," the former a slow but not still ballad, the latter a modal spirit song that's putty in his hands. Of his originals, "Unexpected" sports many twists and turns, starting out sounding like "A Night in Tunisia" in 10/8 time, and moving to dazzling multiple made-up lines. "Shine" is another indirect improvised concept in cascading and free, peaceful motifs; "Fulia Chant" is in 6/8 with the drum brushings of McPherson; and "Slap" is a piano and bass with drum exchange, a post-bop swinger that is elusive rhythmically. Of the many piano-bass-drums jazz trio recordings that tumble into the marketplace year after year, this one is notable and a standout from the crowd. If you enjoy peer-group pianists like Danny Grissett, Gerald Clayton, and Taylor Eigsti, you'll gravitate toward the ever-evolving and emerging talent of Luis Perdomo -- one to keep an eye and ear on over the upcoming decades. - Michael G. Nastos ALLMUSIC.COM


Discover Jazz Festival, Burlington, Vermont: Garden of Musical Delights

From the very first notes struck by The Luis Perdomo Trio, it was abundantly clear they were going to bring a classic jazz format to full fruition. The intensity rose through the first two numbers while Perdomo and co. found the perfect foil for the rollicking "Baby Steps" (written by the leader's wife) in the gorgeous balladry of "Comedia."

Certainly the piano trio was perfectly suited to the low-ceilinged intimate downstairs venue and vice versa: the acoustic piano, double bass and minimal drum kit was all perfectly audible in almost audiophile sonority throughout the first set. As they played, there wasn't a wasted note as each musician aligned with the other two, overlapping only enough to create an ensemble sound without sacrificing their individual instrumental personality. - Doug Colette- ALLABOUTJAZZ.COM


LUIS PERDOMO & THE SPEED OF SOUND
The first show of this year's jazz fest in the more intimate confines of FlynnSpace was fast, and I don't mean time-wise: The two-set gig by the Luis Perdomo Trio clocked in at more than two hours. But, man, that music was flyin'. Piano-man Perdomo, bass player Hans Glawischnig and drummer Eric McPherson set a quick pace from the start with "Nomads," which kicked in with a Latin pulse and dark undertones before building into a rapid whirl carrying the notion of motion and travel the title suggests. Other tunes in the first set - especially "Baby Steps" by Perdomo's wife, bass player Miriam Suillivan - had that same vibe of sophisticated American jazz with a strong forward momentum. Only a couple of pretty but relatively tepid slower numbers cut into the energy.

The second set after a 15-minute break was looser, as Perdomo pointed out before pointing to one of the reasons why - the bottle of beer Glawischnig was holding in his hands. The members of the trio showed off their individual skills a bit more in the latter half of the night, with McPherson producing a phenomenal drum solo that had his arms beating as fast as a hummingbird's wings.

I had a couple of down minutes at the office before I left for the show, and I found myself browsing the transactions on the Associated Press sports wire to see if my New York Mets had dumped any of their chronically under-achieving ballplayers. Didn't see any signs of that, but I did see that the San Diego Padres put a player on the disabled list. His name? Luis Perdomo. He had the initials "RHP" in front of his name, which in this case signifies "right-handed pitcher," not "red-hot pianist." - Brent Hollenbeck- BURLINGTON FREE PRESS


Awareness is a resolute work of progressive jazz by one of today’s emerging pianists, Luis Perdomo. The Venezuela native has memorably contributed to recordings of bright jazz names like Ravi Coltrane (In Flux, Savoy, 2005), Miguel Zenon (Jibaro, Marsalis Music, 2005) and Dafnis Prieto (About The Monks, ZOHO, 2005).

Where his 2005 debut Focus Point (also on RKM) was more of an introduction, this recording is a dynamic view of original pieces that are more distinct and free, in a primarily trio setting with bandmates bassist Hans Galwischnig and drummer Eric McPherson. The vibrancy of the music and the sheer strength of the performances are more open and stylized, giving a further glimpse into Perdomo’s cerebral concepts, which include influences from Afro-Latin, European classical and jazz music.

The surprise is that Perdomo now makes creative use of two bassists and two drummers simultaneously on half of the pieces, with the addition of drummer Nasheet Waits (a member of pianist Jason Moran’s Bandwagon) and master bassist statesman Henry Grimes (who has recorded with Don Cherry and Sonny Rollins). The idea of a double trio with one pianist may not be entirely new, but within this context, it works wonders by giving the music a layered and dense feel that is open to possibilities but never congested.

Something special happens when the dual walking bass lines and contrasting drum sections lay out support for Perdomo while he solos fiercely on the opening piece, “Street View: Biker.” The music is melodic, aggressive, with traces of free jazz and plenty of interaction from everyone. “Ishtar” flows with a rubato-like cadence, featuring Perdomo laying down beautifully twisting playing; the exhilarating rhythm section work on “Polrais” involves Glawischnig and McPherson’s precise timekeeping, as well as blistering solos.

The strange beauty of the abstract “The Song of the Forgotten” comes with Grimes and Glawischnig delivering dual arco solos as the twin drums shower the piece with percussion. You can take an adventurous trip on “Tribal Dance” as the double trio plays with both chaos and control, culminating in a twin drum solo from McPherson and Waits. Just when you thought piano trio recordings were sluggish and predictable, along comes Awareness. Highly recommended.

- Mark Turner- ALL ABOUT JAZZ


Venezuela-born Luis Perdomo is, first and foremost, an incredible pianist. A former child prodigy, he’s now 35, has absorbed just about every conceivable kind of music and excels in every area. Be it Latin, South American, North American, European classical, straightahead jazz, avant garde… you name it. As he says “It’s all music”.

This second album is even more impressive than his debut Focus Point two years ago. It’s self-produced (with the assistance of two sympathetic Brooklyn engineers—Bobo Fini and Peter Karl) and the piano sound is just about perfect. There are two groups involved. The basic trio has Glawischnig (the Austrian, who deservedly seems to be the first-call bassist on most of these ground-breaking Latin sessions) and former McLean pupil McPherson, who is rapidly developing into a major talent. Their chemistry with Perdomo is quite remarkable in the way they anticipate where he’s taking the music, then adapt and develop their own thing.

Perdomo’s melodic and harmonic ideas (some, familiar-sounding; others, totally unexpected) are all tied in with his rhythmic conception, which varies from track to track. He is a truly masterful musician and his idea to use a double trio on five tracks—which could have been a disaster—turns out to be extremely successful. Grimes (once a Rollins regular, then a collaborator with Sun Ra, before disappearing from the scene for nearly twenty years) works astonishingly well, often bowed, together with and apart from Hans, while Waits seems joined at the hip with McPherson in their cauldron-stirring time-keeping and dual solo spots, which are especially inventive.

With distinction, Perdomo has graced the bands of, among many others, Ravi Coltrane, David Sanchez, John Patitucci and Ray Barretto. Now it’s his time to shine. Given the exposure, he could win standing ovations at concert halls everywhere and give the Keith Jarretts of this world some strong competition.

It’s doubtful whether I’ll hear a more outstanding piano record all year. Please check it out.

- Tony Hall JAZZWISE (UK)


Venezuela-born pianist Luis Perdomo plays hard, earnest jazz, with Latin jazz serving as his jumping off point. Nine of the 11 cuts are his, and his penchant for mixing things up with various personnel is evident from track to track. The opener is a sizzling Latin blues, an appropro intro, but then comes a couple of off-kilter numbers that suggest restless fermentations, the crack band of altoist Miguel Zenón, Ravi Coltrane on tenor, bassist Ugonna Okegowo and drummer Ralph Peterson playing in a spirit akin to Miles Davis and Ornette Coleman, circa mid '60s fast-forwarded to the 21st century.
"Procession" is a pretty melody that might suggest a funeral or a walk in the woods. Played as a trio number this ballad gives off mourning, mystery and a break from the syncopated intensity of the first three songs. The more lyrical side to Perdomo's writing continues with the zest "San Millan." Played with the same trio (bassist Carol DeRosa) plays percussionist Roberto Quintero, the song's melody lines are both oblique and fetching, Perdomo's peppery right-hand moves are the perfect match for what amounts to a warm, almost soothing left-handed chordal attack. Throughout Focus Point, Perdomo's apparent aversion to a formulaic through Perdomo's musical veins. - John Ephland-DOWNBEAT MAGAZINE


Ben Ratliff, New York Times, "Critic's Choice: New CD's"


Focus Point
Luis Perdomo

The Venezuelan-born pianist Luis Perdomo plays serious, analytical music, wrapped in complexities of rhythm, with curling unison lines for piano and saxophone set over the interlocking of a drum set and a pair of batá drums. His sound is related to the music of Steve Coleman, Danilo Perez, Vijay Iyer and Dave Holland: the apotheosis of the groove, and its development through Afro-Cuban rhythms and funk.

For Focus Point (RKM), his first album, Mr. Perdomo plays with Ravi Coltrane (in whose band he has been a permanent member for some years now); the Puerto Rican saxophonist Miguel Zenón, a graceful, light-toned musician; the drummer Ralph Peterson; and other contributors. As with the albums above, the tracks differ widely, from solos to duets to quartets and quintets. This music is energetically limber, and proof that "Latin jazz" is an almost misleadingly clinical term. At this level, jazz and Latin music have dissolved into each other. - Ben Ratliff - NEW YORK TIMES


Discography

As a Leader:
Luis Perdomo, Pathways (2008)
Luis Perdomo, Awareness (2007)
Luis Perdomo, Focus Point, (2005)

As a Sideman:
Miguel Zenon, " Esta Plena' (2009)/ Marsalis Music
Ravi Coltrane, Blending Times (2009)/Savoy Jazz
Miguel Zenon, Awake (2008)/Marsalis Music
Miguel Zenon, Jibaro (2005)/Marsalis Music
Ravi Coltrane, In Flux (2005)/Savoy Jazz
Miguel Zenón, Ceremonial (2004)/Marsalis Music
Ray Barretto, Homage to Art Blakey (2003)/Sunnyside
Ralph Irizarry and Timbalaye, It's Time (2003)/BKS Records
The Jinga Quintet, A Day Gone By (2003)/Fresh Sounds World Jazz
El Negro and Robby at the Third World War (2003)/American Clave/Ewe Records
Pablo Gil, Major Delights (2002)/Musical Mind
Avi Lebowich, Constant Chase (2002)/Fresh Sounds New Talent
Yosuke Inoue, Peace (2002)/M&I
Hans Glawishnig, Common Ground (2002)/Fresh Sounds New Talent
Miguel Zenón, Looking Forward (2001)/Fresh Sounds New Talent
John Benítez, Descarga in New York (2001)/Khaeon
Kahlil Kwame Bell, Gift of Forgiveness (2001)/KKB Productions
Gerardo Rosales, La salsa es mi vida (2001)/Challenge Records
Ralph Irizarry and Timbalaye, Best Kept Secret (2001)/Shanachie
Marlon Simon and the Nagual Spirits, Rumba a la Patato (2000)/CuBop
Ralph Irizarry and Timbalaye, Live at Birdland (1999)/RCA Victor
Ari Ambrose, Chainsaw (1999)/Steeplechase
Eric Wood, Illustrated Night (1999)/Appaloosa
Viento de Agua, De Puerto Rico Para el Mundo (1999)/Agogo/Qbadisc
Wendell Rivera, Portfolio (1998)/Les Disque World Class
Tom Dempsey, Blues in the Slope (1998)/Igmod Records
Ralph Irizarry and Timbalaye, Ralph Irizarry and Timbalaye (1

Management & Booking
Mariah Wilkins Artist Managment LLC
315 East 86th Street, Suite #2EE
New York, New York 10028
Phone: 212.426.3282
Fax: 646.290.6180
web: www.mariahwilkins.com

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Bio

Luis Perdomo grew up in a home filled with music. Born in Caracas, Venezuela in 1971, Luis was exposed to just about every style of music by his father, an avid music fan and collector. Alongside salsa, Latin, R & B, and classical, the young Perdomo heard jazz greats like Bud Powell and Oscar Peterson, two of his earliest and most important musical influences. Drawn to jazz and to the piano at an early age, Luis was making regular professional appearances on Venezuelan TV and radio by the time he was twelve.

It was about this same time that Luis started to think more and more about the possibility of pursuing a life in music. The more he began to listen and to read about jazz—his tastes had expanded to include players like Cecil Taylor and John Coltrane—the more he became aware of one undeniable truth. All his favorite artists lived and/or recorded in New York City. Thus, it was only a matter of time before he too would make that move.

A full scholarship to the prestigious Manhattan School of Music was the catalyst. And it was at MSM where he began his formal study in both classical and jazz piano with Harold Danko and Martha Pestalozzi respectively. After receiving his BA in Jazz Performance in 1997, Luis pursued his Masters at Queens College with the legendary Sir Roland Hanna. This was perhaps one of the most pivotal moments in his development as an artist. "While studying with Sir Roland Hanna I came to realize just how little I knew about both the piano and the music. He forced me to start with a clean slate and to re-evaluate my musical perceptions—both about jazz and the history of jazz piano. I began to look at jazz and classical music in a new and more in-depth way and my playing evolved accordingly."

Luis' music "education," was not limited to the classroom. Soon after moving to New York, he quickly established himself as an in-demand pianist amassing quite an impressive resume. Some of the artists Luis has collaborated and/or performed with include Ravi Coltrane, John Patitucci, Ray Barretto Brian Lynch, David Sanchez, Claudia Acuña, Dave Samuels and the Caribbean Jazz Project, Butch Morris, Dave Valentin, Jane Bunnett, John Benítez, Ralph Irizarry, Jerry Gonzalez and the Fort Apache Band, Alice Coltrane, Dafnis Prieto and Yosvany Terry. A list that is as notable both by its quality as well as its diversity. As a regular member of groups led by John Benítez, Miguel Zenón, Ray Barretto and Ravi Coltrane, Luis has made his mark as a performer, a composer and arranger. He can be heard most recently on Ray Barretto's Homage to Art Blakey and Miguel Zenón's Ceremonial.

Luis' most important accomplishment to date, however has been the completion of his first CD as a leader, Focus Point, for RKM Records (release date: September 2004). Focus Point includes music that Luis wrote in college as well as more recent compositions. "I wanted to document my musical journey up to the present, but at the same time create arrangements that would give the music a certain continuity." Luis often writes with particular musicians in mind and on this recording, he was able to bring together some of his favorite musical collaborators including Miguel Zenón, Ravi Coltrane, Ugonna Okegwo, Ralph Peterson Jr. and Roberto Quintero. Focus Point brings to the forefront Luis' prodigious talents both as an innovative composer/arranger and a creative and original improviser.