Links is a musical autobiography of sorts for Luis Perdomo. The Venezuelan pianist performs compositions by his classroom teachers from his native Caracas, the Manhattan School of Music and Queens College, as well as songs by his wife, a couple of hard-bop elder statesmen, the other three members of this quartet, and two of his own originals. It’s a nifty theme, meant to pay homage but also trace the development of his style and sensibility. But that aspect and nearly everything else about Links takes a back seat to the extraordinary rapport and creative potency that occurs between Perdomo and alto saxophonist Miguel Zenón.
Although Perdomo has appeared on all six studio discs that are under Zenón’s name, Zenón hasn’t joined a formal Perdomo recording since the pianist’s 2005 debut. The pairing is a tonic for both the listener and the alto saxophonist. For years now, Zenón has been exploring the various roots of native Latin musics. Immersed in Perdomo’s more bop-centric but still Latin-inflected métier, he sounds delightfully unburdened and rambunctious, exploiting the mellifluous upper register, rapid modulations and darting rhythms that are advantages of the smaller horn over the tenor.
Meanwhile, Perdomo is seemingly always there to provide expert support via suggestive responses and goading companionship. The pianist is no stranger to challenging tempos or distinctive harmonies, but his signal virtue may be a contagious kineticism; he employs tension-and-release in a manner reminiscent of Bud Powell, but with a helping of his South American heritage that seems irresistible to his cohorts. At age 71, master drummer Jack DeJohnette uncorked a fountain of youth on Perdomo’s Universal Mind last year that was both dazzling and reassuring, and along with drummer Rodney Green and bassist Dwayne Burno (both familiar sidemen with Perdomo), Zenón flourishes like a young gun and sage rolled into one. When it comes to links, or Links, consider Perdomo the key on the chain that unlocks the treasure chest. - Britt Robson / jazz times.com
This record is a nice change of pace for the exceptionally talented Venezuelan pianist, and also for Puerto Rican altoist Miguel Zenón. Most of their recent efforts have concentrated on works connected with or inspired by the folklore of their respective countries. This CD is more of a contemporary straightahead date with a well-balanced 11-track mixture of originals by the pianist and each group member plus ‘thank yous’ to three of his teachers (Sir Roland Hanna, Harold Danko and the lesser-known Gerry Weil, whose tune ‘Profundo’ is one of many highlights) and songs he first heard back in Caracas by Woody Shaw and Elvin Jones. Luis’ compositions are both uptempo and his solos really fly! He has a constantly inventive right hand and an always harmonically interesting left. Green’s ‘Percy’s Delight’ is a swinging opener, while Bruno’s ‘Melisma’ and Zenón’s ‘Paco’ show off everyone’s tender tendencies, as does the closing poignant ‘Elena’, written by Perdomo’s wife Mimi Jones. If you’ve read about him, but never bought one of his recordings, this could be an ideal purchase, because all of his many qualities are on display in abundance and the material would be easier to identify with. As always with Perdomo, thoroughly recommended. - Tony Hall / jazzwise.com
Tracks
01. Percy's Delight (R. Green)
02. Waiting Time (H. Danko)
03. Crossmind Dreams (L. Perdomo)
04. Profundo (G. Weil)
05. The 'A' List (L. Perdomo)
06. The Organ Grinder (W. Shaw)
07. Enigma (R. Hanna)
08. Three Card Molly (E. Jones)
09. Melisma (D. Burno)
10. Paco (M. Zenón)
11. Elena (M. Jones)
LUIS PERDOMO piano
MIGUEL ZENÓN alto saxophone
DWAYNE BURNO bass
RODNEY GREEN drums
Recorded at System Two Recording Studios, Brooklyn, NY
Criss Cross Jazz – Criss 1357 CD