Given the fact that the prolific Brazilian tenor saxophonist plays within a relatively small circle of musicians, the appearance of a new collaborator in the form of veteran German pianist Karl Berger can but arouse interest. Indeed, he has an entirely different character to many other Perelman collaborators. There is a somewhat gentle nature, if not understatement, in the latter's touch and approach to chording that present a stimulus that brings out a wide range of responses from Perelman. In what is possibly one of the quietest settings in which he has appeared to date, he goes deep into his sotto voce range at times, producing the kind of hazy swoon that invokes the spirit of Webster or Quebec, exemplified vividly on the striking ‘Placidity.’ Yet that does not mean that the saxophonist has completely discarded his trademark iron fist tone or barreling momentum, and the control with which Perelman shifts into a piping fortissimo on the aforesaid track is impressive. Although he generally opts for a less expansive approach Berger is equally potent and his volleys of curling single note figures and zig-zags of harmony keep his partner well on his toes. As the title suggests, Reverie is perhaps one of the most contemplative entries in Perelman's vast discography, and stands as a worthwhile reminder of his artistic versatility as well as his consistently high standards.