JEREMY PELT, WATER AND EARTH


photo by Ingrid Hertfelder
Trumpeter Jeremy Pelt sports a confident, almost larger than life presence on stage. He blows with certainty and an abundance of style, attributes that have served him well in clubs and nine solo recordings with a style that has been likened to the mid-60s Miles Davis, yet his recent recordings for HighNote (especially Men Of Honor and Soul) place Pelt decisively in the present. For his 10th record, Pelt says goodbye to all that.

Water and Earth is Pelt’s impressive recording that replaces his longtime acoustic band with fresh talent that jumps head first into Pelt’s vision of digital jazz. Electronic keyboards and bass weave throughout, but it’s the young drummer Dana Hawkins (whose recorded collaborations with electric bassist Evan Marien are off-the-hook) and Roxy Coss, a rare and solid female saxophonist, that gives this effort a worthy buzz. Pelt’s smooth and tasty tone is still present, but his post bebop-styled rhythms and acoustic blues have collapsed into a reshaped agenda that’s particularly effective on top-shelf grooves like “Mystique,” and especially “Pieces Of A Dream,” a dazzling collision of Pelt’s past and present style that shows his love for both. (9 tracks; 56 minutes)

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JAZZ IN SPACE: JEREMY PELT, WATER AND EARTH

Thursday, May 2, 2013

JEREMY PELT, WATER AND EARTH


photo by Ingrid Hertfelder
Trumpeter Jeremy Pelt sports a confident, almost larger than life presence on stage. He blows with certainty and an abundance of style, attributes that have served him well in clubs and nine solo recordings with a style that has been likened to the mid-60s Miles Davis, yet his recent recordings for HighNote (especially Men Of Honor and Soul) place Pelt decisively in the present. For his 10th record, Pelt says goodbye to all that.

Water and Earth is Pelt’s impressive recording that replaces his longtime acoustic band with fresh talent that jumps head first into Pelt’s vision of digital jazz. Electronic keyboards and bass weave throughout, but it’s the young drummer Dana Hawkins (whose recorded collaborations with electric bassist Evan Marien are off-the-hook) and Roxy Coss, a rare and solid female saxophonist, that gives this effort a worthy buzz. Pelt’s smooth and tasty tone is still present, but his post bebop-styled rhythms and acoustic blues have collapsed into a reshaped agenda that’s particularly effective on top-shelf grooves like “Mystique,” and especially “Pieces Of A Dream,” a dazzling collision of Pelt’s past and present style that shows his love for both. (9 tracks; 56 minutes)

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