New York City left its mark on pianist Dahveed Behroozi.

When the San Jose native returned to the South Bay in 2013 after a decade of studying and collaborating with some of the Big Apple’s most formidable jazz and classical artists he was determined to keep his deepest musical connections alive.

He’s found no shortage of Bay Area musicians to play with since then, but he often writes his most personal and identifiable pieces for the New York trio he left behind, featuring bass star Thomas Morgan and veteran drummer Billy Mintz.

“I’ve continued to write my own music and develop my own concepts, particularly for that trio back East,” said Behroozi, 40, who performs a livestream show June 13 from Oakland’s Piedmont Piano Company.

Taking its name from Greek mythology, his new album “Echos” comes out June 4 on the indie label Sunnyside. The session captures the trio on a program of Behroozi originals that draw on his love of Bach, Brahms, and Irving Berlin. Spacious, austere and quietly conversational until it suddenly surges with tidal force, the music makes for edge-of-the-seat listening.

Regrouping for the first time in several years, the trio cohered upon contact. “Being in that room with both of them felt like a magical thing,” said Behroozi, a music professor at Gilroy’s Gavilan College. “There was a flow to it and it felt like things were just happening and there was no need to think about it. There were some pieces that were mostly composed and some things totally free.”

Behroozi and Morgan, who grew up in Hayward, first met as standout high school players who started working professionally as teens. Morgan had a regular gig at Main Street Brewery in downtown Pleasanton that attracted some of the best young jazz musicians in the region.

Behroozi stopped by one time to sit in “and I remember being blown away by Thomas,” he said. “But it wasn’t until we started at the Manhattan School of Music that we got to know each other and started playing several times a week in a trio.”

They brought their close musical connection back to California on school breaks, performing around the South Bay at spots like Fuel 44 and Gordon Biersch Brewing Company. San Jose Jazz, always ready to showcase young talent, presented them several times at Summer Fest.

Back in New York, Morgan’s career took off and with more than 70 albums to his credit he became one of the busiest bassists on the scene. More impressive than the number is the stature of the artists seeking him out, from NEA Jazz Masters like drummer Paul Motian and saxophonist/flutist Henry Threadgill to MacArthur “Genius” Fellows such as alto saxophonist Steve Coleman and drummer Tyshawn Sorey.

Morgan’s highest profile work in recent years has been with guitarist Bill Frisell, with whom he’s recorded two acclaimed duo albums for ECM. The relationship grew out of an encounter in a huge ensemble led by Santa Cruz-reared drummer Kenny Wollesen.

Though they were on opposite sides of the room separated by dozens of musicians, “he told me he felt like I was playing some other strings on his guitar,” Morgan said. “I had that feeling too, like it was almost one instrument.”

Morgan felt a similar connection with Behroozi, noting that, “Even from the first time I heard him play there was a kind of weight, a significance to every note he played,” he said. “There was a beauty also that really drew me in.”

Morgan first convened the trio when he invited Billy Mintz to join them for a session at a downtown loft space run by drummer Nasheet Waits. The connection was deep and immediate, and they started playing together as often as possible. Behroozi became a regular at the Teaneck, New Jersey, house Mintz shares with his wife, ace jazz pianist Roberta Piket.

“Billy is an amazing cook and we’d just go over and play and hang there for hours,” Behroozi recalled. “He’s such an incredibly open musician with such a strong focus on sound.”

Though often associated with jazz’s avant-garde, Mintz is a nonpareil musician who can play a solo drum recital, guide a big band for a network television show, or lay down a groove for a pop album. The trio’s musical identity emerged out of their shared love of American Songbook standards.

“Thomas, to a lot of people’s surprise, is extremely rooted in the American Songbook, and likes to study the original score,” Behroozi said. “We spent the first few years essentially playing ballads and standards. We’re coming from Cole Porter and Rodgers and Hart, and only towards the end of a tune would we venture off into a freer area.”

Contact Andrew Gilbert at jazzscribe@aol.com.

DAHVEED BEHROOZI

When: Live-streamed concert 5 p.m. June 13

Where: Piedmont Piano, Oakland

Access: Free but donations encouraged; www.facebook.com/PiedmontPiano