Jacques Pelzer (24 June 1924 – 6 August 1994) was a Belgian musician. He played alto saxophone and flute. Notably, his performance with Chet Baker was included on Baker's quintet's Brussels 1964 album.^[1]

You can help expand this article with text translated from the corresponding article in French. (April 2012) Click [show] for important translation instructions. View a machine-translated version of the French article. Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Consider adding a topic to this template: there are already 6,168 articles in the main category, and specifying|topic= will aid in categorization. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at [[:fr:Jacques Pelzer]]; see its history for attribution. You may also add the template {{Translated|fr|Jacques Pelzer}} to the talk page. For more guidance, see Wikipedia:Translation.

He made his debut in 1947 the jazz band the "Bob Shots", which also featured René Thomas and Bobby Jaspar.

Over the years, he played with most of the great Belgian jazzmen (Toots Thielemans, Francy Boland, Benoît Quersin, Philip Catherine...) but also with many American jazzmen (Dexter Gordon, Stan Getz, Lee Konitz, Philly Joe Jones, Bill Evans, Chet Baker …).

His music was impregnated by bebop but also by cool jazz and the music of Lennie Tristano. However, in the 1960s he sometimes played free jazz (with Don Cherry, Gato Barbieri, Archie Shepp…) and, in the 1970s, jazz fusion (with the group “Open Sky Unit”). Beginning in the 1980s, he returned to more “classical” aesthetics and “acoustic” jazz.