1 	The Rodin Suite, Pt. 1_ L'Appel Aux Armes 	6:55
2 	The Rodin Suite, Pt. 2_ Dignity And Despair (Burghers Of Calais) 	1:59
3 	The Rodin Suite, Pt. 3_ I Sol Tace (Gates Of Hell) 	5:59
4 	The Rodin Suite, Pt. 4_ Camille Claudel (L'Éternel Printemps) 	2:33
5 	The Rodin Suite, Pt. 5_ Epilogue 	4:47
6 	Ceramic 	3:41
7 	Feito 	6:54
8 	Watercolors 	5:58
9 	Ask Of Now 	6:54

Jeremy Pelt - trumpet
Victor Gould - piano
Frank LoCrasto - Fender Rhodes, effects
Chien Chien Lu - vibraphone, marimba
Vicente Archer - bass
Allan Mednard - drums
Ismel Wignall - percussion

Jeremy Pelt is a terrific trumpet player and bandleader whose records offer enough consistency to make us search for new material. He is also an extremely reliable sideman with important contributions in projects by Vincent Herring, Ralph Peterson Jr., Wayne Escoffery, and more recently, bassist Ben Allison.

His new outing, Jeremy Pelt The Artist, finds him fronting a dynamic group with Victor Gould on piano, Frank LoCrasto on Fender Rhodes and effects, Chien Chien Lu on vibraphone and marimba, Vicente Archer on bass, Allan Mednard on drums, and Ismel Wignall on percussion.

The album’s first five tracks constitute The Rodin Suite, a compositional effort inspired by the work of French sculptor Auguste Rodin. Like the sculptor himself, Pelt doesn’t rebel against the past, but arrange everything in a clever way, introducing new elements that shape the music with a winsome modern feel. On “Pt 1: L’Appel Aux Armes”, Wintz’s scorching guitar licks emerge from the cumulative instrumental layers initiated by Gould’s piano. The rhythm mutates graciously, becoming a fine receptacle for a warm dialogue established between vibraphone and piano. Pelt’s buoyant trumpet, then becomes the center of attention when his wonderfully chosen notes populate the colorful harmonic tapestry.

“Pt 2: Dignity and Despair” works like a languid transition to “Pt 3: I Sol Tace” where streams of percussion join trumpet lines affected by wah-wah and delay. Archer orders his contrabass to walk leisurely. Later on, he is doubled by Lu’s vibraphone and forms a smoothly groovy alliance with Mednard while psychedelic acid jazz shouts echo in the air.

Whereas “Pt 4: Camille Claudel” is a volatile ballad featuring the melodic conductions of Wintz and Pelt, the softly “Pt 5: Epilogue” is launched by solo bass and complemented with an initial primal thud (later extended to cymbal legato), muted trumpet, and the electric charm of LoCrasto’s Rhodes.

The rhythmic flux on “Ceramic” is suggestive of electronica, yet its essence is mainly post-bop like on “Feito”, which categorically swings with Pelt showing off lucid phrases that resonate with the style of Freddie Hubbard and Wynton Marsalis. He is followed by Lu and Gould, whose conviction doesn’t consent to energy interruptions.

You will find the rhythm section swinging in the pocket again on “As of Now”, which closes out the album full of supercharged jazz harmonies, right after the 3/4 musical sunshine that is “Watercolors”.

This is deftly composed material put in practice with taste by a sophisticated new group that works pretty well together. ---Filipe Freitas, jazztrail.net

Showcasing a five-part suite based on the work of French sculptor Auguste Rodin, Jeremy Pelt's 2019 album, The Artist, finds the trumpeter translating his love of the visual arts into a set of deeply textured compositions that touch upon harmonically rich modalism, driving post-bop, and lyrical balladry. Beginning with the hypnotic "The Rodin Suite, Pt. 1: L'Appel aux armes," which translates fittingly as "the call to arms," The Artist evokes the '70s jazz of artists like Woody Shaw and Bobby Hutcherson. It's a sound Pelt has long embraced, at least as far back 2013's fusion-influenced Water and Earth, and one that he has increasingly made his own. Which is to say, while The Artist brings to mind the vibes, keyboard, and groove-oriented aesthetics of '70s jazz, it never sounds like pastiche, and remains a nuanced palette for Pelt to draw from. Adding rich colors to this palette are Pelt's bandmates: pianist Victor Gould, bassist Vicente Archer, guitarist Alex Wintz, marimba player Chien Chien Lu, and percussionist Ismel Wignall. Together they play with a deft sense of group interplay that's as much the focus as Pelt's own improvisatory prowess and balmy tone. In fact, Pelt bows out of "The Rodin Suite, Pt. 2: Dignity and Despair (Burghers of Calais)" altogether, allowing Gould to lead the ensemble with his gem-tone keyboard warmth. "The Rodin Suite, Pt. 3: I sol tace (Gates of Hell)" is perhaps the most fusion-sounding track as the trumpeter paints the song's intro with thick wah-wah and echo pedal-dipped lines against a backdrop of woody marimba and conga, before settling into an arid, slow-burn noir groove. Similarly evocative is "The Rodin Suite, Pt. 4: Camille Claudel (L'Éternel printemps)," whose sparkling chimes, fuzzy marimba, and drawn-out dual guitar and trumpet melody conjure the image of sculptor Camille Claudel (Rodin's muse and partner), framing her tragic story in a haze of sadness and midday languor. Elsewhere, Pelt continues to pull inspiration from the visual arts, offering up the buoyant Latin rhythms of "Ceramic," the propulsive swing of "Feito," and the exuberant harmonic spirals of "Watercolors." With The Artist, Pelt has crafted an album that engages your attention and captivates your imagination much in the same way Rodin's famed sculptures continue to fascinate audiences. ---Matt Collar, AllMusic Review

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1 	Prologue - Introduction To "Make Noise!" 	
2 	Make Noise! 	
3 	Prince 	
4 	Cry Freedom 	
5 	Digression 	
6 	Introduction To "Evolution" 	
7 	Evolution 	
8 	Chateau D'Eau 	
9 	Your First Touch... 	
10 	Bodega Social 

Jacquelene Acevedo - Percussion
Vicente Archer - Bass
Jonathan Barber - Drums
Victor Gould - Piano
Jeremy Pelt - Primary Artist, Producer, Trumpet 

Trumpeter Jeremy Pelt occupies an enviably open-minded space in the modern jazz landscape. A capable traditionalist, Pelt has built his career around making acoustic post-bop, with increasing forays into electrified, electronic-tinged fusion. His mutable choices keep you in suspense as a listener -- you’re never sure what to expect from one album to the next. While there are no such electronic flourishes on Pelt's 2017 effort, the warmly sophisticated Make Noise!, it still pops with much of the same cross-genre creativity he's explored in the past. The album follows his similarly inclined 2016 effort #Jiveculture, which also featured an inventive acoustic sound accented by legendary bassist Ron Carter. This time out, Pelt brings along a slightly less-high-profile, if no less talented, ensemble including pianist Victor Gould, bassist Vicente Archer, drummer Jonathan Barber, and percussionist Jacquelene Acevedo. Together, they take an intimate approach to expansive post-bop that straddles the line between Miles Davis' '60s albums and Terence Blanchard's early-'80s work. Pelt has a broad, enveloping trumpet tone and a knack for laying down highly engaging solos that never hold a listener at arm's length. It's a skill he puts to good use throughout Make Noise! and one complemented by his bandmates, especially pianist Gould, who layers these tracks with a sparkling delicacy reminiscent of the late Mulgrew Miller. Similarly, with Acevedo's kinetic percussion filtered throughout, Make Noise! also has a strong Afro-Latin influence, a vibe especially apparent on the roiling title track and frenetic, salsa-infused "Bodega Social." Equally compelling, "Chateau d'Eau" has a languid, R&B-inflected melody set to a midtempo Afro-Latin groove. Elsewhere, Pelt pushes toward harmonically nuanced modalism, offering a fittingly elegiac and noir-ish tribute to the departed pop icon on "Prince," and evincing the angular, classically influenced style of Black Codes-era Wynton Marsalis on "Cry Freedom." While much of Pelt's work fits nicely into the jazz canon, he clearly has an open ear for melody, a gift he exercises on "Your First Touch...", which sounds like a Leonard Cohen song reworked as a sensuous jazz ballad. Ultimately, Make Noise! continues to reveal Pelt's maturation into a confident artist, comfortable enough with his place in the jazz tradition to keep subtly pushing the edges of audience expectation. ---Matt Collar, AllMusic Review

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01 Pandora's box			play
02 All my thoughts are of you
03 Paradise lost
04 When the time is right 05 Pulse	play
06 In love again
07 Only
08 David and Goliath

Personnel:
Jermey Pelt - Trumpet
J.D. Allen - Saxophone
Danny Grissett - Piano
Dwayne Burno - Bass
Gerald Cleaver - Drums

Jeremy Pelt’s “The Talented Mr. 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’s group is that rarest of all things in jazz, a working band, and the familiarity and communication that come 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. –Amazon.com

Trumpeter Jeremy Pelt has established himself as one of the go-to musicians on trumpet and flugelhorn in the modern mainstream jazz scene. His yearly albums from the High Note label are postcards of classy hard bop played with great facility and style. On this album he is accompanied by J.D. Allen on tenor saxophone, Danny Grissett on piano, Dwayne Burno on bass and Gerald Cleaver on drums. They take off at a medium tempo on the opening “Pandora's Box" echoing the classic Blue Note Records sound of the 1960's (not surprising since this album was recorded by the legendary Rudy Van Gelder) taking round-robin solos that are immaculately played. Gerald Cleaver makes his presence felt on a couple of the albums finest tracks. First “Paradise Lost" has his strong drumming urging along a mid-tempo groove, and interacting with the trumpet and saxophone in a very dynamic way. On the album's fast paced finale, “David and Goliath," he again proves his mettle establishing an excellent pocket with Bruno for a strong and lightning fast hard bop improvisation.

The band tackles ballad material in a subtle and mannered fashion, as on “In Love Again" where spare piano and subtle muted brass conjure a lonely, romantic vibe. Breathy trumpet that is slow and patient glides through the ballad “All My Thoughts Are of You." This is a solid and well played slice of modern hard bop, which mainstream jazz fans will find quite accessible and entertaining. The band plays with panache and a thoughtful energy that makes for a successful recording.

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