The story of keyboardist Austin Peralta is one all too familiar to jazz fans: a stellar talent taken too young thanks to abuse of drink and narcotics. In this case, Peralta – the son of film-makers – was born in LA in 1990. He was something of a prodigy, becoming expert on piano by the age of five; although initially a classical pianist, his interest in jazz was piqued at age 10 when he heard a Bill Evans CD.

In 2003, Peralta was awarded the Shelly Manne New Talent Award by the Los Angeles Jazz Society, which was presented to him by Quincy Jones. In addition to the piano, Peralta also played the upright bass, drums and saxophone and studied with jazz pianist Alan Pasqua and saxophonist Buddy Collette. He performed with Chick Corea in Tokyo in 2005. His debut album Maiden Voyage (2006) featured Ron Carter on bass. Here, clearly, was a young man destined for great things.

By the early 2010s Peralta was developing an interest in electronica. And a 2011 meeting with Steven Ellison – aka Flying Lotus – led to Endless Planets, his third album and the first Peralta felt truly expressed his vision. He wasn’t able to build on it, however, because by the following year, he was dead – from viral pneumonia, aggravated, the coroner said, by alcohol and drugs – aged just 22.

Which is a real tragedy, because Endless Planets shows a composer and instrumentalist feeling his way to greatness, if not quite attaining it (yet). The music is busy, insistent and groove-based, but there are hints of deeper spiritual concerns, the yearnings exemplified by the Coltranes or Pharoah Sanders; Peralta’s writing and playing (both of which show a debt to Chick Corea) is never less than impressive, but occasionally the music becomes unwieldy or too dense, or else Peralta and his collaborators resort to gimmicky noodling. However, the seeds are most certainly there, for those with the ears to hear them.

Endless Planets was originally released on CD only; fans have long asked for it on vinyl, and here at last it is, bundled together with a BBC Maida Vale session recorded during the same period.

What of the music? Think late 1960s Pink Floyd gone space-jazz and you might be there; if you dig the ‘LA sound’ popularised by Flying Lotus and Sam Gendel (or indeed the Cinematic Orchestra, of which Peralta was a touring member) then you’ll like this; and if you’re aleady a fan and have the original CD you’ll want this for both the sumptuous sound quality and the BBC material (three of the four tracks weren’t on the original album).