With "Love Is Simple," Jeremy Pelt returns to the art of balladry, distilling eight deeply felt performances into his first vinyl-only anthology and shining a light on one of the most quietly persuasive sides of his artistry. Drawn from his HighNote recordings, the set favors emotional honesty over grandstanding, pairing a few familiar titles with lesser-known gems that reward close listening. From Pelt's own disarmingly direct title track to relaxed, assured readings of songs by Rodgers & Hart, Jule Styne, Adams & Strouse, and Marian McPartland, the music unfolds with patience, grace, and a deep sense of purpose. Recorded primarily at the legendary Rudy Van Gelder Studio and featuring a heavyweight cast including George Cables, Buster Williams, Billy Hart and others, these sessions offer a rare balance of warmth and clarity, leaving plenty of room for breath, nuance, and atmosphere. Long celebrated as one of jazz's most eloquent ballad players, Pelt bares his soul here with confidence and restraint, offering a retrospective that feels timeless without ever sounding self-conscious. "Love Is Simple" marks his first appearance on LP, a format perfectly suited to music that asks you to slow down, lean in, and stay awhile.

Jeremy Pelt's latest recording is one of his most culturally aware and musically astute projects yet. Pelt observes in his liner notes that the social realities "in these United States all but force you to constantly examine the virtues and contributions of your own community, if only for the sake of positive reinforcement... and the music I've produced herein for the world to hear seeks to be a part of that positive reinforcement." That perspective, echoed in his multi-volume book series "Griot: Examining the Lives of Jazz's Great Storytellers," anchors a program that balances cultural heritage with musical innovation. Pelt's compositions flow effortlessly across straight-ahead neo-bop, spacious ballads, post-impressionist color, and the tasteful integration of electronics. Legendary bassist Buster Williams and acclaimed drummer Lenny White bring deep authority and experience, giving the album it's solid grounding, while pianist Orrin Evans supplies a modern harmonic foundation that keeps the music vibrant and alive, as Lasse Corson sprinkles in subtle electronic colors. The result is a thrilling, forward-looking statement from a trumpeter and composer whose voice continues to grow with purpose, presence, and unmistakable personality.

Trumpeter Jeremy Pelt's latest project, Woven, is a fascinating album that fuses more traditional aspects of 21st-century jazz with the myriad possibilities of electronic synthesized sound. This collection of mostly original compositions showcases Pelt's instrumental artistry together with his commitment to composing works that explore new dimensions in jazz. Each track on Woven is meticulously crafted, perfectly balancing innovation with communicative emotional depth. The full range of contemporary jazz can be found here, from neo-bop, hard-driving rhythms to touchingly intimate balladic utterances. But Pelt's trumpet can also weave through electronic textures, creating a sonic landscape where the group's kaleidoscopic tone colors become a fundamental part of the melodic content. Joined by an impressive ensemble of musicians, Pelt and his collaborators create a fluid interplay of acoustic and electronic sounds, displaying their skill in integrating bold, contemporary elements while simultaneously underlining the very essence of jazz.

Tomorrow's Another Day may be trumpeter and composer Jeremy Pelt's most experimental recording to-date, with greater emphasis on the dynamic aspects of sound. This thought-provoking record gets a huge lift from the participation of drummer/technologist Deantoni Parks, who previously has lent his remarkable talents to such visionaries as Meshell Ndegeocello and Andre 3000. Pelt's newest band features Jalen Baker (vibes), Wintz (gtr), Leighton McKinley Harrell (bs) and Allan Mednard (dms), with Frank LoCrasto (pno) on two tracks. The ensemble seamlessly works together to produce a unique galaxy of sounds which have the ability to evoke gritty scenes that pulse with primal energy or surge transcendently skyward. Through it all, it is the trumpet and creative presence of Pelt which provides a sense of ballast to the myriad sounds and textures, with an intensely personal and mesmerizing weave of arguably some of the most stunningly imaginative and communicative work he has given us so far.

Playing jazz is a lot like love itself. It is as much about poignancy as it is about joy. It is Jeremy Pelt's understanding of this dichotomy of passion and restraint that makes this album so compelling. The set list is as all-encompassing as a love affair - from the straight-ahead feeling of "I Can't Escape from You" to the breathless stillness of his muted trumpet on "There'll Be Other Times." His sly, half-valve effects on "Blues in Sophistication" show an impish delight while Henry Mancini's "Slow Hot Wind" throbs with an ever so discreet Latin feel. This may be considered a "with strings" record but Pelt does not let this descend into a vibrato-laden string sound. There is an unusually classical feel to this album with the string quartet supporting, reinforcing and commenting on Pelt's playing rather than sugar-coating it. Buddy Rich once said, "Jazz should be treated the same as classical music." He was right. He "got it" and, as evidenced herein, so does Jeremy Pelt.

Jazz trumpeter, composer and author Jeremy Pelt has certainly never shied away from themed albums so one might expect something cinematic from the enigmatically-titled Soundtrack. However, as Pelt himself explains, "I've certainly done plenty of concept albums, but in this case there's nothing I'm on a soapbox about. It's been a tough time for all of us, so let's not worry about sending messages for a minute. Here we are, playing some songs and having some fun." Having fun the band may be but along the way they make some compelling jazz weaving a beguiling tapestry of kaleidoscopic colors with Pelt's sultry and communicative trumpet to the fore surrounded by Chien Chien Lu's hypnotic vibraphone and pianist Victor Gould's subtle splashes of the Fender Rhodes. The inclusion of Brittany Anjou on Moog synthesizer and the rarely-heard Mellotron may imply a real electronica aspect present on the recording but, quite to the contrary, Pelt uses them sparingly and incorporates them brilliantly into the group's tonal palette. Their appearance does occasionally bring a certain 70s independent jazz vibe to the proceedings but they far from define the sound of the group. Anne Drummond's silvery flute on two tracks adds yet another dimension to the already wide spectrum of colors on this latest album in the discography of the sometimes surprising but always inspired Jeremy Pelt.

It is only natural that Jeremy Pelt's voracious curiosity would lead him to investigate the West African Griot tradition where stories, reminiscences and accomplishments from times past are handed down as oral histories. Researchers such as Art Taylor, William Russell and Alan Lomax have preserved interviews with older jazzmen but for his Griot odyssey, Pelt turns to his own peer group to record their thoughts on creating jazz, playing jazz and experiencing the life of a jazz musician of color in our own time. Each brief interview is followed by a composition by Pelt which perfectly captures the sentiments and emotions of it's spoken-word prelude. To help him bring his vision to life, Pelt has assembled a hand-picked group of colleagues, featuring vibraphonist Chien Chien Lu, pianist Victor Gould, bassist Vicente Archer, harpist Brandee Younger and others. The tunes themselves run the gamut from the remarkable mixing of the sacred and the secular in "Carry Christ Wherever You Are," to the Monk-like gallumphing opening unison in "Don't Dog the Source," and the urgent, "Underdog." As Pelt himself says, "I want people to understand that this is for everybody," that the project was undertaken to perhaps help them "understand that whatever they might be going through, their perspectives might run parallel to those of people who are generations apart from them. Maybe, to a certain extent, these younger people will find themselves in these stories."

2020 release. Jeremy Pelt's unquenchable curiosity has made him one of the most multi-faceted of jazz artists. Whether it be as a leader, a sideman, an accompanist or a composer, Pelt has investigated nearly every aspect and genre in jazz - from electric to eclectic, Be-Bop to Free-Bop. Here Pelt joins forces with the legendary George Cables on piano and Peter Washington laying down the bass lines. All but one tune on the setlist are slow-ish numbers but this is not your father's ballad record. Each member of the trio is able to pour some old wine into new bottles, aware of and perhaps shaped by the past but operating very much in the moment. Together with Cables' lush voicings and solid tone and Washinton's always-inspired bass lines and solos, Pelt's new recording sets a high bar for all trio recordings that follow in the remainder of 2020.

2018 release. Recorded live in Paris at the famed Sunside/Sunset Jazz Club, Jeremy and his colleagues deliver a set of searing intensity and unparalleled musicianship. Pelt's group is that rarest of all things in jazz, a working band, and the communication that comes from extensive time spent playing together is evident. 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. Pelt's own playing has earned accolades for his staggering virtuosity, which has elicited comparisons to trumpet icons like Clifford Brown, Lee Morgan and Freddie Hubbard, as well as for his studious, cerebral approach to the music. On this particular night in Paris, Pelt focused all his attention on creating the perfect phrase to fit each musical moment, sculpting long lines that let the music breathe and while building spontaneous ideas into finely-crafted miniatures.

Jeremy Pelt stands as a strikingly unique musician, his work consistently sleek and polished yet bristling with the spirit of invention flourishing in a lean, modernist language influenced by classic bebop phraseology. He delivers his lines with authority and economy, the pinpoint accuracy of his tone well-suited to the heightened elegance of his delivery. With pianist Simona Premazzi laying down the changes and Ben Allison's bass lines, Jeremy is joined by the twin drums of Billy Drummond and Victor Lewis for a session of originals, standards and music by Wayne Shorter and Clifford Jordan.

Legendary jazz writer Nat Hentoff wrote in a lengthy article about Jeremy Pelt in the Wall Street Journal, "It is the beat of Jeremy Pelt's heart... that underscores the future of jazz." High praise indeed but Pelt lives up to it on every gig and with every new recording. FACE FORWARD, JEREMY is a multi-textured, thought provoking release which incorporates a sparing use of electronica along with unexpected acoustic instruments such as the cello and harp. The result is a wildly imaginative sonic landscape that exists in it's own time and space as defined by the artist and the leader himself.

Heralded for years as one of the rising stars in jazz, Jeremy Pelt has earned accolades for his staggering virtuosity, which has elicited comparisons to trumpet icons like Clifford Brown, Lee Morgan and Freddie Hubbard, as well as for his studious, cerebral approach to the music. While he's clearly the man in charge here, Soul is very much a band-focused release, with all five members of the group heard distinctively and insistently throughout.

Walking the tightrope that is stretched between history and progress is a difficult task for a young jazz musician. During the last five years, Jeremy Pelt has explored many post-war jazz trends, but for his HighNote debut recording he has settled into the acoustic, post-bop format with his regular band that includes the tenor sax of J.D. Allen with the rhythm section of Danny Grissett, piano, Dwayne Burno, bass and Gerald Cleaver, drums. One listen and it is easy to see why he was voted Rising Star on the Trumpet five years in a row by Downbeat and the Jazz Journalists Association.

MaxJazz is pleased to present trumpeter Jeremy Pelt in NOVEMBER, his fourth recording for the label as part of it's horn series. Pelt wrote and arranged all of the compositions on this acoustic, straight-ahead release. NOVEMBER features Pelt's working quintet including tenor saxophonist J.D. Allen, pianist Danny Grissett, bassist Dwayne Burno and drummer Gerald Cleaver (special guest percussionist Jeff Haynes). Pelt was named Rising Star on Trumpet for the 5th year in a row by DownBeat. This recording follows his critically acclaimed 2007 release SHOCK VALUE - LIVE AT SMOKE, which featured all original compositions by the versatile trumpeter with his electric band WiRED.

25-year-old trumpeter Jeremy Pelt has garnered notice for his superb charts and professionalism since landing in New York four years ago. "Insight," his Criss Cross debut, demonstrates that he's also a composer with a point of view. Helping him articulate it are a take-no-prisoners ensemble of New York's finest callers, all 30-and-under, with the exception of veteran drum avatar Ralph Peterson. Features tenor saxophonist Jimmy Greene, alto saxophonist Myron Walden, pianist Rick German son and bassist Vincente Archer.