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Jared Gold: Reemergence (Strikezone)

Organist Jared Gold, guitarist Dave Stryker, and drummer Billy Hart, augmented by trumpeter Jeremy Pelt on three tracks, prove there’s still some life in the venerable B-3 jazz combo. The opening title track sets the tone: Gold is his usual deep-grooved self; Pelt summons a blunt-edged aggressiveness that somewhat belies his well-known Milesian proclivities; Stryker, … Read More “Jared Gold: Reemergence (Strikezone)”

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Black Art Jazz Collective: Armor of Pride (HighNote)

What’s in a name? The Black Art Jazz Collective welcomes the question. The bristling hard-bop swagger of this all-black sextet of bandleaders and first-call sidemen sends a message as palpable as the Langston Hughes quote (about the “duty of the younger negro artist”) that’s set beside Cheryl Pelt’s breakdown of jazz as a historical tool … Read More “Black Art Jazz Collective: Armor of Pride (HighNote)”

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Jeremy Pelt: Noir en Rouge: Live in Paris (HighNote) + Jim Snidero & Jeremy Pelt: Jubilation! Celebrating Cannonball Adderley (Savant)

If you build it, the muse will come. That was the operating principle behind trumpeter Jeremy Pelt’s latest album as a leader: He brought his working quintet, the same acoustic postbop band heard on 2017’s Make Noise!, to Paris last fall, intent on recording a two-night stand at the intimate Sunset/Sunside club. Three of the … Read More “Jeremy Pelt: Noir en Rouge: Live in Paris (HighNote) + Jim Snidero & Jeremy Pelt: Jubilation! Celebrating Cannonball Adderley (Savant)”

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Jeremy Pelt: Make Noise! (HighNote)

For all its trumpet flourishes and roiling percussion, its mounting tensions and spirited interplay, Make Noise! isn’t always a brashly exuberant affair. In fact, quite the opposite is true when trumpeter Jeremy Pelt, a 20-year recording veteran well versed in blues tropes and romantic lyricism, opts for dramatic changes in tone and dynamics. Conceived as … Read More “Jeremy Pelt: Make Noise! (HighNote)”

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Jeremy Pelt: Tales, Musings and Other Reveries

The Miles Davis influence is immediately evident in Jeremy Pelt’s timbre, phrasing, linear structures-even his tonguing technique. Like Miles, he builds tension with tightly wound note clusters, then releases it by breaking into piercing ascents or extended lines, and a lot of his improvisational conceits sound adapted directly from the Davis canon. What sets him … Read More “Jeremy Pelt: Tales, Musings and Other Reveries”

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