Royston does not merely accompany but listens, reacts, and integrates his ideas into the communal effort. Nonetheless, he doesn\u00e2\u20ac\u2122t flinch from an opportunity to solo with power and at length on \u00e2\u20ac\u0153The Old City\u00e2\u20ac\u009d and more briefly but with no less energy on \u00e2\u20ac\u0153Brand New Grays.\u00e2\u20ac\u009d Jones brings incisiveness of tone and powerful swing that complement Perdomo\u00e2\u20ac\u2122s own time feel combining relaxation and power. The pianist\u00e2\u20ac\u2122s Chopinesque unaccompanied opening moments of \u00e2\u20ac\u0153Love Tone Poem\u00e2\u20ac\u009d typify his keyboard approach. His integration of Jones and Royston into the piece demonstrate his concept of the trio\u00e2\u20ac\u2122s music as the product of minds intermingling. Employing electric piano on five of the tracks, Perdomo creates an almost horn-like flow of melodic line, particularly on the stirring \u00e2\u20ac\u0153Cota Mil.\u00e2\u20ac\u009d Still, the clarity of his playing on the acoustic piano, with every note distinct, is welcome after a couple of tracks of the Fender-Rhodes. Perdomo composed all of the album\u00e2\u20ac\u2122s 12 pieces, except \u00e2\u20ac\u0153How Deep is Your Love\u00e2\u20ac\u009d by the Bee Gees. Despite the lightweight source material, he lifts that performance to the level of the rest of this intriguing album. <\/p>\n We Float<\/strong>, Silence<\/em><\/a> (Havtorn)<\/p>\n More Recent Listening coming soon, maybe even tomorrow. <\/p>\n","protected":false},"excerpt":{"rendered":" [contextly_auto_sidebar id=”GUKVg7zf9uSFF0Hrysj5OWZkJvGPN9DR”] Luis Perdomo, Twenty-Two (Hot Tone Music) The title observes the number of years since the pianist moved from his native Venezuela to New York City. In that time Perdomo has established a musical personality apart from the influential leaders for whom he has worked—Ray Barretto, Ravi Coltrane, Miguel Zenon, Brian Lynch among them. […]<\/p>\n","protected":false},"author":2,"featured_media":6652,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6650","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6650","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6650"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6650\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6652"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6650"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6650"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Perdomo](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/05\/Perdomo-Twenty-Two.jpg\")
<\/a>The title observes the number of years since the pianist moved from his native Venezuela to New York City. In that time Perdomo has established a musical personality apart from the influential leaders for whom he has worked—Ray Barretto, Ravi Coltrane, Miguel Zenon, Brian Lynch among them. His early studies in New York with pianists Roland Hanna and Harold Danko, powerful teachers and examples, emphasized the importance of developing an individual voice. As he demonstrated in his 2010 album<\/a> with bassist Drew Gress and drummer Jack DeJohnette, Perdomo has a gift for harnessing a trio to single-mindedness in pursuit of his vision. In this case, his colleagues are bassist Mimi Jones and drummer Rudy Royston. <\/p>\n![\"We](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/05\/We-Float-Cover.jpg\")
<\/a>As noted in the Rifftides<\/em> wrapup report<\/a> on last summer\u00e2\u20ac\u2122s Ystad Sweden Jazz Festival, the quartet called We Float wafts between jazz and pop. The harmonic partnership of leader Anne Marte Eggen\u00e2\u20ac\u2122s electric bass and Fanny Gunnarsson\u00e2\u20ac\u2122s piano, buoyed by Flip Bensefelt\u00e2\u20ac\u2122s crisp drumming, puts the band in the jazz column often enough to keep the music from slipping into mere ambience. The band\u00e2\u20ac\u2122s substance is notable in Ms. Eggen\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Echolation,\u00e2\u20ac\u009d which employs repetition to build tension before its fade ending. With clarity and trueness of pitch, Linda Bergstr\u00c3\u00b6m\u00e2\u20ac\u2122s voice is effective as the lead instrument, notably so on \u00e2\u20ac\u0153Echolation\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Silence.\u00e2\u20ac\u009d The album\u00e2\u20ac\u2122s sound quality is excellent. <\/p>\n