Luis Bermajo

While pianist Luis Perdomo has earned plenty of praise for his work in Latin jazz settings with different artists such as percussionist Ray Barretto and saxophonist Miguel Zenon, classifying him as a "Latin jazz pianist" would be a mistake. Perdomo may earn his daily bread playing piano with many Latin luminaries and legends-to-be, but his work with saxophonist Ravi Coltrane and his own albums place him at the vanguard of modern jazz, in all of its expansive and inclusive glory. Universal Mind is the Venezuelan-born pianist's fourth release as a leader, but it marks the debut of this compelling trio. Bassist Drew Gress and Perdomo built a chemistry and musical bond through their shared experiences in Coltrane's outfit, but the real story here is the connection between Perdomo and drummer Jack DeJohnette. The two push, prod and propel one another to great heights, while creating music that's thought-provoking, powerful, and unique.

‘Canto interno’, or ‘inner voice’, is the nesting place of the elements necessary for the expressive, melodic, and timbral elaboration of one’s musical construction where, before the sound becomes real or audible, it is developed consciously in the innermost depths of our being. It is the space where we can hear and feel music in its purest state.

This collection of music for guitar, brought together by Jose Luis Bieito as the musical element of his music+image binomis, Reflections, possesses a delightful balance of sounds. These are flowing, pulsing, mostly gentle sounds that tend to soothe and calm the listener's mind. Sounds that - through a variety of compositional techniques - tend to be sustained in time; the effects of which can sometimes capture a listener’s attention, holding it inside an extended musical moment, like a spell. When heard while viewing the accompanying (provocative, sometimes disturbing) images, the sounds can serve an additional function: grounding the listener's reaction, enabling the passage of emotion; like electricity discharging through a lightening rod.

Jean-Marie Leclair’s fourth and final book of sonatas for solo violin and continuo was published in Paris in 1743. It followed the composer’s return to the French capital from The Hague in the wake of the bankruptcy of his patron, the formerly wealthy merchant François Du Liz. Like the three earlier books, there are 12 sonatas in the publication, each of which has four movements.

This is the mainstream recording debut of Luis Salinas, the young Argentinian guitarist/composer whose admirers include Chick Corea and the late, great Brazilian guitarist/composer Baden Powell. Salinas plays both electric and acoustic guitar on this set of his own compositions, fronting a quartet that includes the popular Sammy Figueroa on percussion. At first blush, given the continuous layer of synth violins, the sound seems to fit the familiar formula of "smooth" jazz. Yet while the music is largely relaxed, it's more varied and interesting than the usual "lite" fare - it has real drums and a clear sense of direction. Salinas offers a personalized mix of bossa nova, salsa, Argentinian folk music, bolero, and jazz; the percussive accents and expressive range of the guitar and piano keep the mix from blending too smooth. Most of the tunes are taken at mid-tempo; the distinctive high points are the ballads…