Acclaimed trumpeter Jeremy Pelt just kicked off his U.S. Tour in support of his latest album Tomorrow’s Another Day. After an opening gig in Cincinnati, Pelt and his quintet then hit the road for the West Coast before making a stop at Dimitriou’s Jazz Alley on October 22 and 23.

This isn’t the first time Pelt has graced the stage at Jazz Alley. Pelt swung by Jazz Alley back in 2016 after his release of Tales, Musings and Other Reveries! Pelt was back in Seattle last year playing from his 2023 album, Soundtrack.

Always an audience favorite, Pelt is known for his warm tone and lyrical approach to trumpet playing. In addition to leading his own band, Pelt has performed and recorded with many notable jazz artists, including the Mingus Big Band, Roy Hargrove, and Vincent Herring – just to name a few.

Before embarking on his tour, Pelt graciously took the time to answer a few questions that ranged from the importance of mentorship to what the audience might expect as he takes the stage at Jazz Alley. Pelt also touched on the inspiration behind picking up the pen and writing “Griot – Examining the lives of Jazz’s great storytellers.” In the critically acclaimed 4-volume series, Pelt interviews musicians about their musical origins, thoughts about race and music in America, and what they’ve experienced in the industry and amongst their peers.

You can catch Jeremey Pelt and his Quintet October 22 and 23 at Dimitriou’s Jazz Alley.

7 questions with Jeremy Pelt

Can you discuss the role of mentors in your musical development? Were there any particular musicians who took you under their wing and provided guidance?

Jeremy Pelt: I find that, in all walks of life, as a young person, mentorship is an important thing. Interestingly enough, I didn’t grow up with any musical mentors, HOWEVER I did have several male role models/mentors that my mother placed in my life to learn what it is to be a man.

I’ll say that the role of mentorship in music, is slightly different. One can be a mentor and not even know that they are (if that makes any sense). When I first moved to town, Dr. Eddie Henderson was someone that I followed constantly, and to this day, we’re very close. During my younger years, I asked him an exhaustive amount of questions, which he was happy to answer. I can say the same about all of the elders I played with. Their answers shaped who I am as a player to this day, but I don’t know if they’d call themselves my mentor.

That said, I constantly employ younger musicians and do seek to mentor them, specifically so they can benefit from the knowledge I received firsthand from the grandmasters I played with.

You have mentioned that Arthur Taylor’s “Notes and Tones” was an inspiration for the creation of your “Griot” book series. Can you speak a little bit to that? Also, how did your upbringing and early exposure to music influence your interest in storytelling through your work? How do you see this series contributing to the evolution of jazz music?

Jeremy Pelt:  I was 17 or 18 when I first read “Notes and Tones” and this was the times before internet/YouTube, etc. I was immediately engulfed in the stories of all my heroes. It gave me a glimpse into their mindset and philosophy and was very raw (which I loved). While reading it, I always wondered why no one had continued the work to include the young stars of my generation (Roy Hargrove, Josh Redman, Christian McBride, etc.) and after 30 years of wondering, I decided to do it!

My upbringing played a big part, being that my grandfather, chief amongst the storytellers in my family, was always giving me anecdotes from his childhood. Both he and my grandmother recorded their life story on a cassette and sent it to my mother and I remember listening to it and marveling at the stories. I think that jumpstarted my appreciation for people’s history, especially Black people. My people. 

This series, in my estimation, has less to do with the evolution of jazz and more to do with bridging the generational gap in Black music by preserving and inculcating all that who’d be willing to read about the mindsets, in their own words, of the artists that create the music.

With some hip-hop influence, your new album, Tomorrow’s Another Day, has been said to be one of your most experimental recordings to-date. Can you elaborate on the process of selecting the artists for your current project? What qualities do you look for in a collaborator?

Jeremy Pelt: Truth be told, I’m a control freak. I’d like to think that I can give up the reins, but most times I can’t. “Tomorrow’s Another Day”, as much as anything, represents my moving towards more worthwhile collaborations. I chose Deantoni Parks because he’s more than a drummer. He’s a conceptualist and a scientist of sorts, which accounts for the career that he’s cultivated. We went to school together and played in a few different projects with his band and his partner’s (at the time) band, “KUDU” in the early aughts. We always vowed to work together, but it took 20+ years! I’m glad he was available!

I watched one of your IG posts where I believe you mentioned being somewhat of a “jazz snob” early on. How has that perspective evolved over time, and have there been any musicians or genres that you think you missed out on during that time because of that? 

Jeremy Pelt:  The operative word being “Evolve”, I’d say that if you’ve been on the scene as long as I have, which is 26 years, and you haven’t evolved in the slightest, you’re doomed to fail. It’s not that I was ever against anything that wasn’t straight ahead jazz, it’s that when I was younger, I tried to appease all the people that I thought mattered. I was GREAT (and still am) at performing in the straight-ahead context, but at the same time, I liked a lot of other music. I wasn’t as fearless as some of my contemporaries at bucking the trend because I was getting all the accolades and was afraid of losing them. 

Nowadays, I’m almost 50 years old and have amassed experiences which no one can take away, so I play what the hell I want to play and am not the least bit bothered. That’s the biggest “Flex” (as the Gen Z-ers say). That’s how I’ve evolved. 

Still, through all that, I don’t actually think I’ve missed out on anything….but, then again, I wouldn’t know!

In the context of today’s music industry, what do you think jazz needs to do to stay relevant and continue resonating with younger audiences?

Jeremy Pelt:  I’m not sure that it’s ever NOT been relevant or in danger of losing it’s relevance, The true nature of this art form has always been to embody the times we live in. Therefore, it’s always relevant. However that might translate in numbers might be problematic, but EVERY genre is taking a hit, in that regard.

Do you ever think about legacy and if so, what do you hope your legacy will be in the world of jazz? What do you want people to remember about your music and your contributions to the genre?

Jeremy Pelt:  Interestingly enough, lately I’ve found myself thinking about this question a lot, and even thinking about my mortality (although, I know I’m much too young to start that thought process). Legacy, to me, starts with my kids, before I even think about the rest of the world. I always want to make sure I do right by them. 

As for this art form, I think I’ve arrived at a stage to where I’ve got an identity within my playing and what comes out of the horn truly touches people. I’ve figured out how to do that now. That’s one contribution. I’m fine if I’m not thought of as revolutionary or the voice of my generation. I’ve already come to terms with that.

Education/Mentoring is a major contribution, as are my books which have allowed many an artist to tell their stories and thoughts in the own voice. If I died tomorrow, you can write all this in my obituary.

I know you’ve played a lot of gigs in your career and have been through a lot of clubs – what can Seattle audiences expect when you roll through Jazz Alley for your two-night stand.

Jeremy Pelt: First of all, we’re so honored to be back, and for two nights! I’ve always loved Seattle audiences and the club, in general. Last time we were there, the audience heard my band in a burgeoning stage. This time, we’re more seasoned by dent of the passage of time and our music will reflect that. There’s nothing like a well-oiled touring band that’s been together for a while!