Experimental jazz trumpeter Jeremy Pelt performs at the Shadbolt, October 11
Prodigious musician to perform a cabaret lounge-style show, backed by his newest band featuring vibraphone, bass, drums, and electric guitar
Jeremy Pelt. Photo by Eva Kapanadze
Jeremy Pelt performs at the Shadbolt Centre for the Arts Studio Theatre in a Cellar Music Group presentation on October 11 at 7:30 pm
WITH A SOUND and style that echoes back to 1960s bebop, coupled with a drive to forge new ground, prodigious American trumpeter Jeremy Pelt manages to merge both past and future in his work.
Take his 2021 album Griot: This is Important! for example, which fused the voices of veteran African American jazz artists—pulled from interviews he had done for his self-published Griot book series—with contemporary bop and instrumental ballads. Pelt’s latest album, Tomorrow’s Another Day, is described on the artist’s website as his most “most experimental recording to date, with greater emphasis on the dynamic aspects of sound”. In tracks such as “No A.I.” and “Basquiat”, he merges hypnotic repetition and odd time signatures with soaring trumpet lines, electronica-influenced rhythms, and psychedelic electric guitar.
On October 11, he’ll take to the Shadbolt’s stage in a cabaret lounge-style performance of songs from this, his 24th album release, with vibraphonist Jalen Baker, guitarist Alex Wintz, bassist Leighton McKinley Harrell, and drummer Jared Spears. Expect a night of music that feels at once utterly adventurous and comfortingly familiar. ![]()
Jessica Werb is an award-winning writer, copy editor, and communications consultant based in Vancouver. When she’s not covering the arts or debating the Oxford comma, you can often find her playing the cello.
Related Articles
The project’s success should allow the double bassist and composer—who kicks off Music on Main’s 2026–27 season—to turn down more gigs as a hired sideman
The 1980s-themed party includes a free-play arcade, a pop-up tattoo parlour, and live performances by Trauma Novelle, Reveal Yourself, and Devours
Annual Christmas concert features compositions by Shireen Abu-Khader, Srul Irving Glick, Marie-Claire Saindon, and Stephen Smith
Led by director Greg Caisley, concert features 60-voice choir, orchestra, and four outstanding soloists
Season opener, coproduced with Pacific Opera Victoria, features a strong central trio of singers and striking lighting and sets
Vocals, movement, and lighting meet in a bold reimagining of David Lang’s Pulitzer Prize–winning choral composition
Offerings spans queer cinema, live electronic music, and dance throughout this multidisciplinary collaboration between six emerging curators
Award-winning performer, composer, and producer leads a project that blends blues, gospel, hip hop, and griot traditions
The Cree-Dene composer’s new work joins a program aimed at instilling calm, bliss, and joy
As part of the Downtown Eastside Heart of the City Festival, the new show nods to Mexico’s Día de los Muertos and similar traditions from other countries
Baroque masters William Christie and Paul Agnew lead the vocal ensemble in a revelatory program devoted to the lauded Italian composer
Featuring contemporary and canonical pieces, the acclaimed ensemble’s program at the Kay Meek Arts Centre reflects dedication to creating space for emerging and marginalized voices
The American pianist’s project is part of her ongoing engagement with the work of post-abstract expressionist painter Cy Twombly
Director Brenna Corner dove deep into history to flesh out the corruption that surrounds a tragic character who lives life on her own terms
Isabel Leong and her 18-piece band play scores by Ghibli composer Joe Hisaishi—but they don’t simply re-create the music of the films
Grammy-nominated composition draws on poetry to honour species that have vanished from the natural world
As part of Vancouver New Music’s festival, the acclaimed percussionist relies on a traditional Japanese spirit of harmony that allows Reich’s precise patterns to breathe
F.W. Murnau’s 1920 German Expressionist film—an unauthorized adaptation of Dracula—was nearly lost thanks to a lawsuit launched by Bram Stoker’s widow
