[members-announce] Jeremy Pelt Quartet IAJE Performance, Thursday, 1/22 at Midnight!

PHAIRELADY at aol.com PHAIRELADY at aol.com
Wed Jan 21 14:14:27 EST 2004

Just added!

Thursday, January 22, 2004
12:00 midnight – 2:00 am
w/Danny Grissett, piano; Willie Jones III, drums; 
Josh Ginsburg, bass

@ Sweet Rhythm (formerly Sweet Basil)
88 Seventh Avenue South 
(between Grove and Bleecker Streets)
New York, NY 10014
Phone: (212) 255-3626

$10 cover/$5 minimum to IAJE badge holders.


By Subway (stops at 50th St. etc.): Take the # 1, 2 or 9 to Christopher 
Street/Sheridan Square. Walk two blocks south on 7th Avenue

For additional information read below or visit the MaxJazz booth

Down Beat Critic's Poll Winner, Jeremy Pelt 

Jeremy has three cds as a leader and appears on over two dozen recordings as 
a sideman, including Wayne Shorter's 2003 disc "Alegria".  Pelt has signed a 
multi-cd contract with MaxJazz and just released "Close To My Heart" his debut 
for the label which is a ballads disc featuring strings. Have a look and 
listen at: http://maxjazz.com/pelt/card/pelt.html.   The disc debuted at # 30 on 
the JazzWeek charts.  In seven weeks it has climbed to the # 6 position and 
continues to be extremely well received by audiences and critics alike. 

If you have not listened to "Close To My Heart,"  tracks 1 - Weird Nightmare 
(Quartet w/string quartet), 3 - Take Me In Your Arms (Quartet), 6 - Don't You 
Know I Care (Solo Flugelhorn), 9 - This Is The Moment (Trumpet duo w/guitar) 
and 11 - In Your Eyes (Flugelhorn w/string quartet only) will give you a good 
representation of the recording.

Please feel free to browse Jeremy's website at: www.PeltJazz.com for 
additional information, photos: www.peltjazz.com/photos.html and music at: 

Best regards, 


Chantal Phaire
Phairelady Management Services
20 West 20th Street, 2nd Floor 
New York, NY 10011-4213
Direct Phone: (212) 822-8590
Cell Phone: (203) 209-7668
Private Fax: (646) 349-2976

Phairelady Management Services represents: Kirk LIGHTSEY, Ralph PETERSON Jr., 
JoAnne BRACKEEN, Denise JANNAH, Jeremy PELT and Amina FIGAROVA 

All About Jazz Live Review 1/12/04

Jeremy Pelt at Dizzy's 
By Dan McClenaghan 
Trumpeter Jeremy Pelt could have been forgiven if he and his crack quartet 
had turned in a ho-hum performance Monday, January 12, at Dizzy's in downtown 
San Diego. The band had just wrapped up a successful four day stay at the Jazz 
Bakery in Los Angeles, and were, at show time, eight hours away from hitting 
the road again: a four a.m. wake-up call for an appointment with Interstate 5, 
for a drive up to the Long Beach airport to catch a flight back to New York. 
Dizzy's was that one last show before heading home. 
And the San Diego club isn't located in the poshest of locales. The downtown 
renovation here has thus far eluded Seventh Avenue. You step over our less 
fortunate, slipped-through-the-cracks homeless brethren to gain admission. Add to 
these less than fortuitous circumstances the fact that the joint was less 
than full, and you have the makings for a desultory, let's-get-this-over-with 
situation for a road-weary quartet. But at exactly eight p.m.--showtime--Jeremy 
Pelt and crew took the stage and played as if they'd been blessed with the best 
of venues, treating the fortunate listeners to a stellar night of jazz. 
Jeremy Pelt radiates a quiet professionalism. Dressed in a dark suit, 
possessed of an erect and rather regal bearing, the trumpeter blew into the show's 
opener, Charles Mingus's “Weird Nightmare”, which is, incidentally, the same 
song that opens his marvelous new CD, Close to My Heart. 
Pelt's trumpet sound was gorgeous from the get-go. Wynton Marsalis, Roy 
Hargrove and Terence Blanchard are the names you hear mentioned most often when it 
comes to pure beauty of tone. The CD and the concert bear out the fact that 
you've got to add Jeremy Pelt's name to that list. 
Dizzy's is a jazz fan's paradise: arrive ten minutes early and you can score 
stage side seats, eight feet from the musicians. 
I wondered going in if Pelt's backing band would be a let down from his top 
flight accompanists on Close to My Heart. After all, it would be hard to find a 
finer rhythm section than Mulgrew Miller--piano; Peter Washington--bass; and 
Lewis Nash--drums. But Danny Grissett, Josh Ginsburg and Willie Jones 
III--piano, bass, drums, respectively-- proved themselves more than up to the 
challenge, with a bit more of and edge and a bite. They exhibited an easy rapport at 
the end of this West Coast tour, and each of them received a good deal of solo 
time they used to full effect. 
Jeremy and Company played several songs off the new CD, a couple from Pelt's 
previous disc, Profile (Fresh Sound New Talent, '02) and a few gems I hadn't 
heard him play before. 
The young trumpeter has a rather stoic stage presence, but his horn sound is 
as emotive as it could be. I've got a hunch that the musician is an emotional 
guy, and it all comes out of his horn. “502 Blues (Drinkin' and Drivin'), was 
particularly moving that night, a piece suffused--on record and even more so 
in concert--with contrition and remorse, melancholy. 
 Breath-takingly beautiful was Donald Byrd's “It's a Beautiful Evening”, 
with Pelt switching to the richer-toned flugelhorn. And the highlight of the 
first set: “Sir John”, a hard-driving Blue Mitchell tune that the band just 
smoked, with Willie Jones III's most inspired drum solo of the evening. 
The CD, Close to My Heart is a knockout. So was the show that night. I 
floated out of Dizzy's hugely impressed with Jeremy Pelt's chops and 
professionalism, his serious musicality, and his first rate backing band. I also walked out 
with the satisfying knowledge that I'd just had the great good fortune of 
sitting eight feet from a major new talent for two hours as he worked his magic. 
Visit Jeremy Pelt on the web at www.peltjazz.com. 


* CD Release *

Contact: Jana La Sorte

(718) 246-4087

jana at janlynpr.com 

The hot new trumpeter has musical personality that fits his instrument: 
intrepid, convincing, resolute. The modern hard bop that crackles…has the kind of  
vehemence and clarity that make people turn their heads. Village Voice

Jeremy Pelt Continues to Impress With 
MAXJAZZ Debut, Close To My Heart 

 * * *

Pelt tops industry award nominations

Jeremy Pelt has big chops, great stage presence and enormous talent for 
composing and playing.  He’s one of those rare young performers who seems like he’
s been around a very long time, because he loves what he’s doing and is very 
comfortable doing it.  Moreover, he is all about being himself.

The jazz industry is well aware of this and has recognized him in many ways.  
This year Pelt topped the 2003 DownBeat Magazine Annual Critics Poll awards 
for Rising Star on Trumpet, and the Jazz Journalist Association selected him as 
one of the Best Emerging Stars in Jazz.  He’s won the ASCAP Young Composers 
Award and has performed with an impressive list of music luminaries including: 
Jimmy Heath; Nancy Wilson; Jimmy Cobb; Wayne Shorter; Louis Hayes; Frank 
Foster; Bobby “Blue” Bland; Lewis Nash; Bobby Short; Keter Betts; Charlie Persip; 
Gary Bartz; Frank Lacy; the Village Vanguard Orchestra; and bands honoring 
Cannonball Adderley and Duke Ellington. 

Pelt can play anything well, from standards to straight-ahead classic jazz to 
the more contemporary and avant-garde, which is why he’s also gotten the call 
to play with exploratory jazz performers such as Ravi Coltrane; Roy Hargrove; 
Ralph Peterson; The Skatalites; Ron Blake; Cassandra Wilson; Lonnie Plaxico; 
Rene Marié; Greg Osby; Soulive; and the Mingus Big Band.  He also plays 
regularly with fellow young rising stars Marcus Strickland, Robert Glasper and Wayne 
Escoffery.  In his mid-20s, Pelt has already toured the U.S., Ireland, 
France, Spain, Amsterdam, Switzerland, Japan, Virgin Islands, Brazil and Great 
Britain with his trumpet. 

Now Pelt debuts on the new MAXJAZZ Horn Series with Close To My Heart 
(September 23, 2003) featuring a powerful trio: labelmate Mulgrew Miller, Peter 
Washington and Lewis Nash.  A ballads-driven album of standards featuring strings, 
Close To My Heart is a bit unusual for him.  Pelt explains:

 I felt it was time to go back and honor the standards that really drew me 
into jazz.  Growing up, my mom played Billie Holiday and Dinah Washington a lot 
and before long, those songs became a part of me too. In high school, I mostly 
listened to instrumentalists like John Coltrane and Lee Morgan, but when I 
was in Bobby Short’s band, I rediscovered my early love of emotional ballads.  
This album honors that.

Pelt believes he has a responsibility as a young musician to uphold tradition 
first and then work to explore new avenues for expression in jazz.  With 
Close To My Heart, it seems he has accomplished both aims.  His use of the strings 
adds texture and lushness on “Weird Nightmare,” which opens the CD.  “
Excerent” begins in a loose bebop manner, while “Take Me In Your Arms” is a 
fast-driving showcase for Pelt’s talent.  Miller’s piano slows us down on “502 Blues,
” leading into a beautiful muted turn from Pelt.  “All My Life” comes across 
like a classic film score in how well it evokes imagery and emotion.  Pelt’s 
horn pleads with the listener on “Don’t You Know I Care,” and then commands 
on “Pioggia di Perugia.”  “It’s a Beautiful Evening” is spare and elegant.  “
This Is The Moment” enchants with its opening guitar solo and Pelt’s 
response.  “Why Try To Change Me Now” is poignant and “In Your Eyes” is heartfelt. 
The strings players are: Meg Okura, violin; Joyce Hammann, violin; Ron 
Lawrence, viola; Dave Eggar, cello; and David O’Rourke on guitar.  O’Rourke also 
acted as string arranger and conductor.

About the Artist

Born in California in 1976, Pelt started playing the trumpet while still in 
elementary school.  At first, he played strictly classical but once in high 
school, he joined the school jazz band and was hooked.  After high school, he 
moved to the east coast to attend Berklee College of Music in Boston, where he 
studied film scoring in the day and cut his teeth playing at local clubs at 

 After graduating from Berklee in 1998, he moved to New York and quickly 
began playing with many distinguished artists.  Profile, his debut CD as a leader, 
followed soon thereafter and commanded attention for his stellar performance 
and high-energy playing, as well as for his catchy original compositions.  His 
2nd CD, Insight, also featured mostly original compositions, a rarity for 
such a young musician.  Pelt has appeared on over 20 recordings as a sideman and 
also calls upon his musical training and experience as an educator at The New 
School University in New York City.  He cites his main influences on the 
trumpet as Freddie Hubbard, Lee Morgan, Booker Little, Miles Davis and Donald Byrd 
and adds that Wayne Shorter, Ornette Coleman, Terence Blanchard and Kenny Cox 
are important compositional role models too.

www.peltjazz.com / www.maxjazz.com/ www.PhaireladyJAMS.com

Pelt's got a big and hearty sound, and he presents it with a rounded 
assurance and technical control, which means power and polish…                         
         Jazz Review UK

 There's a mountain of potential to be found in trumpeter Jeremy Pelt...      

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