"Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments - including cello, clarinet, and trombone - before gravitating to the tenor saxophone. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. But although these artists' romantic bent still shapes Perelman's voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark.

Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane (all of whom would later be cited as precedents for Perelman's own work). He left Berklee after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: "I would go berserk, just playing my own thing," he has stated.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day. His discography comprises more than 50 recordings, with a dozen of them appearing since 2010, when he entered a remarkable period of artistic growth - and "intense creative frenzy," in his words. Many of these trace his rewarding long-term relationships with such other new-jazz visionaries as pianist Matthew Shipp, bassists William Parker, guitarist Joe Morris, and drummer Gerald Cleaver.

Critics have lauded Perelman's no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax" (Ed Hazell in the Boston Globe); "tremendously lyrical" (Gary Giddins); and "a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken" (The Wire). Since 2011, he has undertaken an immersive study in the natural trumpet, an instrument popular in the 17th century, before the invention of the valve system used in modern brass instruments; his goal is to achieve even greater control of the tenor saxophone's altissimo range (of which he is already the world's most accomplished practitioner).

Perelman is also a prolific and noted visual artist, whose paintings and sketches have been displayed in numerous exhibitions while earning a place in collections around the world."

"Tony Malaby (born January 12, 1964 in Tucson, Arizona) is a jazz tenor saxophonist. Malaby moved to New York City in 1995 and has played with several notable jazz groups, including Charlie Haden's Liberation Music Orchestra, Paul Motian's Electric Bebop Band, Mark Helias's Open Loose, Fred Hersch's Trio + 2 and Walt Whitman project, and bands led by Mario Pavone, Chris Lightcap, Bobby Previte, Tom Varner, Marty Ehrlich, Angelica Sanchez, Mark Dresser, and Kenny Wheeler. Other collaborators have included Tom Rainey, Christian Lillinger, Ben Monder, Eivind Opsvik, Nasheet Waits, and Michael Formanek. His first album as a co-leader was Cosas with Joey Sellers."

"Tim Berne (born 1954) is an American jazz saxophonist and composer.

Described by critic Thom Jurek as commanding "considerable power as a composer and ... frighteningly deft ability as a soloist", Berne has composed and performed prolifically since the 1980s. His mainstream success has been limited Ð Berne recorded two albums for Columbia Records Ð but he has released a significant body of work over the decades spanning dozens of critically acclaimed recordings.

Though Berne was a music fan, he had no interest in playing a musical instrument until he was in college, when he purchased an alto saxophone. He was more interested in rhythm and blues music Ð Stax records releases and Aretha Franklin, especially Ð until he heard Julius Hemphill's 1972 recording Dogon A.D.

Hemphill was known for his integration of soul music and funk with free jazz. Berne moved to New York City in 1974. There Berne took lessons from Hemphill, and later recorded with him.

In 1979, Berne founded Empire Records to release his own recordings. He recorded Fulton Street Maul and Sanctified Dreams for Columbia Records, which generated some discussion and controversy, due in part to the fact that Berne's music had little in common with the neo-tradionalist hard bop performers prominent in the mid-1980s. Some regarded Berne's music as uncommercial. In the late 1990s Berne founded Screwgun Records, which has released his own recordings, as well as others' music.

Beyond his recordings as a bandleader, Berne has recorded and/or performed with guitarist Bill Frisell, avant-garde composer/sax player John Zorn, violinist Mat Maneri, guitarist David Torn, cellist Hank Roberts, trumpet player Herb Robertson, the ARTE Quartett and as a member of the cooperative trio Miniature.

Recent years have found Berne performing in several different groups with drummers Tom Rainey and Gerald Cleaver, keyboardist Craig Taborn, bassists Michael Formanek and Drew Gress, guitarists Marc Ducret and David Torn, and reeds player Chris Speed.

He is one-third of the group BBC (Berne/Black/Cline) along with drummer Jim Black and Nels Cline of Wilco. The group released a critically acclaimed album called The Veil in 2011.

Berne's complex, multi-section compositions are often quite lengthy; twenty- to thirty-minute pieces are not unusual. One critic wrote that Berne's long songs "don't grow tiresome. The musicians are brilliantly creative and experienced enough not to get lost in all the room provided by these large time frames." "

"James Carter (born January 3, 1969) is an American jazz musician. He is the cousin of jazz violinist Regina Carter.

Carter was born in Detroit, Michigan, and learned to play under the tutelage of Donald Washington, becoming a member of his youth jazz ensemble Bird-Trane-Sco-NOW!! As a young man, Carter attended Blue Lake Fine Arts Camp, becoming the youngest faculty member at the camp. He first toured Scandinavia with the International Jazz Band in 1985 at the age of 16.

On May 31, 1988, at the Detroit Institute of Arts (DIA), Carter was a last-minute addition for guest artist Lester Bowie, which turned into an invitation to play with his new quintet (forerunner of his New York Organ Ensemble) in New York City that following November at the now defunct Carlos 1 jazz club. This was pivotal in Carter's career, putting him in musical contact with the world, and he moved to New York two years later. He has been prominent as a performer and recording artist on the jazz scene since the late 1980s, playing saxophones, flute, and clarinets. On his album Chasin' the Gypsy (2000), he recorded with his cousin, the jazz violinist Regina Carter.

Carter has won DownBeat magazine's Critics and Readers Choice award for baritone saxophone several years in a row. He has performed, toured and played on albums with Lester Bowie, Julius Hemphill, Frank Lowe & the Saxemble, Kathleen Battle, the World Saxophone Quartet, Cyrus Chestnut, Wynton Marsalis, Dee Dee Bridgewater and the Mingus Big Band.

Carter is an authority on vintage saxophones, and he owns an extensive collection of such instruments, including one formerly played by Don Byas."