The son of professional skateboard pioneer and filmmaker Stacy Peralta, Austin Peralta started piano lessons at age six and was considered a prodigy by age 13, when he received the Shelly Manne New Talent Award from Quincy Jones. His fourth album, Endless Planets—released when he was 20—boasts seven of Peralta’s original jazz compositions accompanied by a rhythm duo and saxophones. The two-minute, 15-second opener, “Introduction: The Lotus Flower,” is a soft post-bop piece enveloped by a moody ambience that recalls the Vangelis score for Ridley Scott’s 1982 film Blade Runner. “Capricornus” follows, infusing rock ‘n’ roll energy into robust, contemporary acoustic jazz where Peralta’s dexterous notes go head-to-head with free-form tenor sax, conjuring the spirit of John Coltrane’s 1962 album Olé. Similarly, Peralta and company have moments reminiscent of both Chick Corea and Impulse Records–era Pharaoh Sanders in the outstanding “The Underwater Mountain Odyssey.” Peralta’s piano playing flashes with unrestrained modal jazz, flying off the rails one moment and reeling it back the next.