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 INTERVIEW WITH LUIS LIVE AT THE JAZZ GALLERY 9/18/04 ON THE RELEASE OF 'FOCUS POINT' (RKM MUSIC - 2004) By Tomas Pena
My interview with Luis Perdomo was conducted at the Jazz Gallery on September 18, 2004. TP: This evening marks your debut as a bandleader. After approximately twenty-two recordings as a sideman, how does it feel to "arrive"? LP: Well, introducing my work has been quite a challenge. Naturally, being a bandleader requires a different mind-set than being a sideman. In addition, it involves a lot more responsibility. But I welcome it. Actually, I have been waiting for this moment for a long time. TP: How appropriate is it for you to be making your debut as a bandleader at the Jazz Gallery? LP: The Jazz Gallery has been very important in my development as a musician. I started playing here in 1999 with the Yosvany Terry quartet. Over the years the Jazz Gallery has boosted all of our careers (Yosvany Terry, Miguel Zenon, etc). In short, I consider the Jazz Gallery my home away from home. TP: During the 70's and 80' there were plenty of performance spaces where musicians could congregate, rehearse and experiment with new material before a live audience. Today venues such as the Jazz Gallery are the exception to the rule. LP: It’s funny because I have been in New York since 1993 and I had never heard of the Jazz Gallery. Yosvany (Terry) was the one who introduced me to the Gallery. TP: It’s true. The Jazz Gallery is one of New York’s best kept secrets. Getting back to Focus Point, I see that Ravi Coltrane had a hand in the production . . . LP: Ravi and I produced the album. He is the Executive Producer. TP: Some of the material dates back to your college days. The rest of the material is relatively new. What drew you to these particular tunes? Let’s discuss the tracks you chose. You mentioned during your performance that (track #1) The Stranger was influenced by a book you read...
LP: Yes, The Stranger by Albert Camus. TP: What about You Know I Know? LP: I wrote that song while I was in college. It is based on a 12-row series, and it was influenced by the music of Schoenberg. The song has gone through some changes over the years. Initially, It had a different title. However, the most recent alteration was adapting the music to fit a Bata rhythm {imitates the bata rhythm verbally}. TP: Book of Life? LP: The tune was inspired by (saxophonist) Ornette Coleman’s music and my years in junior high school. TP: How so? LP: At my junior high-school there was a book called the Book-of-Life. You were required to sign it as a disciplinary measure. Rumor had it that signing the book a total of three times would lead to automatic expulsion. Not so, I signed the book (at least) three times and nothing happened {Laughter} ! TP: {Laughter} What about Procession? LP: Procession is a tune that I composed and with John Benitez (for the album, Descarga in New York). I composed the tune in the wee hours of the morning and we recorded it the very next day. This particular version is true to the original concept. On John’s recording we performed the tune as a duo. TP: San Millan? LP: San Millan is inspired by an Afro-Venezuelan rhythm from the coast. TP: Spirit Song 1 and 2? LP: That is a tune that bassist Miriam Sullivan wrote especially for this recording. TP: Dreams? LP: A song that tenor saxophonist Max King wrote. I have always loved it. TP: Breakdown? LP: I wrote Breakdown for my senior recital at Queens College. I was studying with Sir Roland Hanna at the time. TP: What is the significance of the album’s title, Focus Point? LP: It is represents the fact that a lot of things in my life are starting to come into focus . . . TP: Sir Roland Hanna was, for all intense and purposes, your musical “father.” Describe Roland’s impact on you as a mentor. LP: Definitely. I loved Roland. He was the only teacher that kicked my ass. Meaning, he told me, “man, you cannot come here without practicing your lessons!” That really worked for me. TP: I read somewhere that Roland Hanna inspired you to reevaluate your technique? LP: Yes, for example, he would ask me to play a major scale and tell me to accent three notes {laughter}. He taught me how important it was to pay attention to what I was playing. He opened up my mind to classical music. After I started studying with Roland, I saw the piano differently. Actually, playing the piano became more difficult . . . TP: Was it like starting over? LP: Yes, he made me aware of the endless possibilities . . . TP: Is there any person that you consider a mentor today? LP: No, not like Roland. TP: When was the last time you visited Venezuela? LP: I was there last week. I just returned two days ago. TP: Did you perform while you were in Venezuela? If so, how was your music received? Is there an audience for jazz in Venezuela? LP: I performed there in January. Prior to that it had been ten years since I had performed in Venezuela. I used to play at the Juan Sebastian Bar, which is the most famous jazz club in Venezuela. It was there that I shared the stage with artists such as Chucho Valdes and Gonzalo Rubalcaba. To answer your question, yes, there is a big audience for jazz in Venezuela. I hope to perform there in the future. TP: Many of the musicians you chose to accompany you on Focus Point are fellow Gallerians”: Miguel Zenon, Ravi Coltrane, Hans Glawishnig . . . LP: Yes, I have been playing with Hans for the last ten years. In fact, I went to school with Hans. TP: And the drummer? LP: Ralph Peterson Jr.. I met him during my years at the Manhattan School of Music. I have always loved his playing (he used to hang out there). TP: When will Focus Point be released? LP: I am not really sure . . . sometime in the December (note: Focus Point is currently available via Luis's Manager, Mariah Wilkins at: www.mariahwilkins.com). TP: What are your musical preferences these days? What are you listening to purely for pleasure? LP: Elis Regina Live in Montreaux, a Miles Davis recording from 1969 called Live from Juan de Pins with Jack de Johnette, Alfred Cortot, a French classical pianist. Arturo Benedetti an Italian classical pianist from Italy. Lots of salsa {laughter}. I grew up listening to all kinds of music. I don’t discriminate. Even if I don’t like something right away, I give it some time. Believe it or not, when I was young I didn’t like jazz. I listened to a lot of salsa growing up. TP: You started playing the piano at the age of six. LP: I started playing with my father when I was six. Technically, my father was not a professional musician. He played by ear. Officially, I started playing the piano at the age of ten. TP: Any upcoming projects in the works? LP: I recently recorded new projects with Yosvany Terry and Dafnis Prieto. I just did a new recording with Ravi Coltrane that iwll be out in February and I will be recording "Jibaro" with saxophonist Miguel Zenon in December. TP: Are there any general comments you would like to make? LP: I would like to than you for coming out this evening. TP: My pleasure. In my humble opinion, you and your ’posse’ are the next generation of superstars! LP: Funny you should say that. Branford Marsalis is always saying that Miguel Zenon, Yosvany Terry, Dafnis Prieto, David (?), Danilo Perez and I are changing the way Latin jazz is perceived. I never thought of it that way. TP: Branford is a man who is not known for giving a compliment lightly. Back in the 1970's and 1980's it was the Gonzalez brothers, Paquito D’ Rivera, Ignacio Berroa and others who paved the way. In my humble opinion, the torch has been passed. . . LP: Thank You. TP: Thank you for an evening of great music. On behalf of everyone at Latin Jazz Alive, continued success as a leader. Focus Point is an amazing recording. Tomas Pena
FOCUS POINT - TRACKS:
Musicians: Miguel Zenon, Ravi Coltrane, Max King, Ugonna Okegwo, Carlos DeRosa, Miriam Sullivan, Ralph Peterson Jr., and Roberto Quintero.
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