"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."

"Ray Anderson has been continually noted as a contributor to the legacy of the slide trombone since his emergence in the 1970's, having won numerous Down Beat Critics Polls. He has shown remarkable musical range on the slide trombone and as a result reawakened interest in the instrument's expressive possibilities and sonic scope. He has led or co-led and composed for a daunting assortment of projects including tradition-minded ensembles, experimental groups, big bands, blues and funk projects and even a trombone quartet. He has performed and recorded with Anthony Braxton, David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, the George Gruntz Concert Jazz Band, Luther Allison, Bennie Wallace, Henry Threadgill, John Scofield, Roscoe Mitchell, the New York Composers Orchestra, Sam Rivers' Rivbea Orchestra and countless others. Anderson is a gifted teacher and has been the Director of Jazz Studies at Stony Brook University since 2003. Anderson has received grants from the National Endowment for the Arts, the Fund for U.S. Artists at International Festivals, the Oberon Foundation and Chamber Music America. In 2001 he became a John S. Guggenheim Fellow."