This appearance at Smoke features six of the leader's original compositions and on by bassist Derek Nievergelt. The quartet drives with a straightahead jazz sensibility that emphasizes spirit over technique. He executes intricate solos with ease, plays gorgeous ballads in a tasteful manner, and never lacks flair or sensitivity. Someone this writer has always felt could turn out to be really important is Jeremy Pelt. That's just before he injects his enveloping charisma in the quality passages that follow on the subsequent tracks. Plus, they just keep on getting tighter in their interplay. But Pelt and his bandmates-tenor saxophonist J.
Pelt's trumpet creates a delightful session that shouldn't be missed. His ensemble work has encompassed Ravi Coltrane, Roy Hargrove, Ralph Peterson, Cassandra Wilson, Greg Osby, and the Mingus Big Band. All the players are among the foremost 30-something neo-bop players in Jazz today giving the group an all-star-type reputation with a well-rehearsed sound that comes only with familiarity and countless gigs. Here on 10 songs he wrote and arranged for his working quartet keyboardist Frank Locrasto, bassist Vicente Archer and drummer Eric McPherson and a few guests, Pelt is notable for what he doesn't do as much as what he does. Allen to his group was a savvy move as the two play well off of each other. In many ways, the album is a similarly inclined mix of adventurous, on-the-edge, post-bop and modal jazz that featured on Pelt's stellar 2010 album, Men of Honor.
It's simply what comes from deep inside him. Pelt and his ensemble working as a cohesive unit of like-minded individuals who truly seem to dig playing with each other. But, overall, I hear a musician well on his way to establishing something totally individual. It is a nice throw-back touch in a more forward-looking program of music. The latter piece, serving as the album's high point, pushes the trumpeter's leading edge of creativity higher and higher.
His notes are well crafted and their rounded tones are perfect. Despite the appearance of some special guests on Identity, the quartet is central. Powerhouse drummer Gerald Cleaver and bassist Dwayne Burno ignite a combustive drive, and Danny Grissett offers his percussive piano accompaniment. Danny Grissett ' s strong presence is both felt here as well as on Danny Mack possibly written by Pelt for Grissett? Men of Honor opens with Backroad, and Allen has an opening solo spurred on by Cleaver's cymbal work and Grissett's comping. You can imagine yourself on an evening stroll on the beach with the sun just about to set as you hear Mulgrew tip-toe on the piano and the strings wash upon the shore.
He could develop into someone really special. The core group is augmented throughout the 10-cut session by soprano saxophonist and bass clarinetist Myron Walden, guitarist Mike Moreno and Warren Wolf on vibes. His quintet is keeping the flame alive through solid teamwork and gentle exploration. He also cites Chet Baker and Don Cherry amongst his other influences. Pelt most fully exemplifies the pursuit of that goal. The strings create a spacious and complex tapestry which meshes effectively with Pelt's meaty solos. At the same time, The Talented Mr.
Both Pelt and LoCrasto use ideas from the melody, and each other, to inform their solos with mindfully small gestures and build larger concepts. The writing recalls '60s-period Wayne Shorter. Pelt's muted trumpet solo here is bristling with ideas. Ralph Peterson does a superb job of knitting them into one well-composed unit. . That's not to imply Pelt's anything but a superb trumpeter. Each of the band members contribute one composition, and Jeremy wrote the other four tracks.
The fact is that Pelt has a gorgeous tone, and is trying to find the best environment in which to display his wares. That this is a band not an all-star pick-up group. But the reality is not so black and white. Admittedly only a quartet's worth, but the original and highly attractive way in which David O'Rourke has scored their parts makes the section sound much bigger. Now, his recording debut offers a larger audience the opportunity to hear this rising star. Allen's deliberate tenor phrasing is refreshingly uncluttered. Pelt is just the kind of album one thinks of when it comes to how Jazz is supposed to be: cool, confident, swinging and just a little mysterious.
Pelt is a group statement rather than an individual showcase. The following grading conditions apply to the vinyl component of an album or single: Sealed This is what it says, that the record is still held fast in shrink-wrap. Pelt is now widely recognized as the most important trumpeter to carry on the Freddie Hubbard tradition. Claiming Wayne Shorter as an influence, Pelt's compositions cover a variety of moods and are always fueled by Peterson's dynamic drumming. Of all of Pelt's prodigious talents showcased on The Talented Mr. Pelt's deft compositions make November a rewarding disc that invites repeated listens. Men of Honor is his most mature, satisfying release to date and a great way to start the year in jazz.
Several of his selections are accompanied by violins, cello, and viola which frame his wondrous horn so beautifully. Whether or not Pelt becomes one of the great trumpeters in the history of jazz remains to be seen. Pelt and his band continue on their voyage together, then they are heading in a complementary direction. The brilliant Grissett gets better and better with every recording, Burno is the rock and Cleaver, the most avant-garde of the five, stirring the proceedings, constantly changing the rhythmic landscape and inspiring the soloists. Fast company certainly, but should the talented Mr. These are merely provided as a source of reference however, because even at this early stage of the game, Pelt promises to be a musician that we'll be closely watching for many more years to come. In many ways, the album is a similarly inclined mix of adventurous, on-the-edge, post-bop and modal jazz that featured on Pelt's stellar 2010 album, Men of Honor.
If we spot any significant flaws, we make every attempt to listen through them and note how they play. Pelt ' s Illusion follows and his harmon mute shares honors with Dwayne Burno ' s bass accompaniment, as Grissett plays sparkling chords. Yet, as with Shorter, the music follows its own internal logic. The recording features Frank Locrasto, Vicente Archer, Eric McPherson, Myron Walden, Mike Moreno and Warren Wolf on ten new compositions written by Jeremy Pelt. Pelt, his tone ripe without preening, caresses the melodies with a lovely restraint that recalls the understatement Clifford Brown brought to his recordings with strings. But there's art here too. While they don't push boundaries, they share a spirit with many current artists exploring rhythmic complexity and form while maintaining swing and drive.