Jeremy Pelt: Woven review – accessible post-bop with a touch of electric Miles
Now 48, trumpeter Pelt has maintained a profuse presence in US jazz since his early 20s, racking up an impressive 25 albums, while his contributions as a sideman run into scores. His playing stands squarely in the post-bop traditions of Clifford Brown and Freddie Hubbard, with occasional forays into the electric realm. Pelt himself is an agile player, capable of both fiery declamation and intricate intimacy while always remaining melodic and accessible. On Woven he rings the changes while staying true to his muse. 'I'm not interested in 'new' for the sake of 'newness',' he says in the liner note. 'Rather, I'm infatuated with different perspectives.'
In practice that means a revised line-up that readdresses four previous compositions alongside fresh material, losing his usual piano accompaniment in favour of vibraphone and guitar. Also guesting is synth player Marie-Ann Hedonia, whom Pelt discovered via Instagram, proving a shadowy presence beyond the opening Prologue: Invention #1, and Invention #2 / Black Conscience, both of which carry a touch of electric Miles. More typical are the languid lines of Rhapsody and Afrofuturism, where guitarist Misha Mendelenko and vibes player Jalen Baker get to show their impressive chops. The band's evident comfort reflects the three tours they have already undertaken. A classy outing.
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