27-year-old Tomin Perea-Chamblee is a brass- and reed-centered multi-instrumentalist, the composer and arranger of pieces with excellently thorny harmonies, an at-times reluctant musicker and enthusiastic Brooklynite (born and raised, so his admiration primarily concerns the borough’s pre-gentralification qualities), who, by day works as a bioinformatician. If you're in New York, there’s an OK chance that you’ve heard him play before, with young (jazz-adjacent) bands and musicians of some renown. Flores para Verene / Cantos para Caramina introduces Tomin as an individual artist to the wider public, and is in many ways a tribute to family and heritage. It’s music grounded in clear purpose and a gravity seemingly beyond his youthfulness, yet coloured with unexpected hues, engaging a newness and hope that lies beyond tradition’s solemnity.

Tomin has been self-releasing the music compiled on Flores para Verene / Cantos para Caramina since 2020. Originally, these pieces were low-key exercises in personal expression, mini markers of intentional beauty. They were also a kind of culmination. By the time Tomin got around to recording them, he’d already been a high-school trombonist in the Jazz at Lincoln Center Youth Orchestra, and a many-hats-wearing horn player with Standing on the Corner, while studying at Columbia. Setting these sounds down on tape was just a matter of time and follow-through.

Flores para Verene (“Flowers for Verene”) brings together solo clarinet-and-trumpet versions of compositions by Tomin’s musical paragons — Mingus, Coltrane, Rahsaan Roland Kirk, Albert Ayler, Eddie Gale, among others.