Thursday, December 1, 2011
Eric Alexander - It's All In The Game
Bitrate: 224K/sYear: 2005
Time: 53:33
Size: 85,8 MB
Label: Highnote
Styles: Jazz Instrumental
Art: Front
1. Where Or When - 7:05
2. Typhoon 11 - 6:52
3. Where is the Love - 6:30
4. It's All in the Game - 5:52
5. Open and Shut - 8:27
6. Ruby My Dear - 7:54
7. Little Lucas - 5:20
8. Bye Bye Baby - 5:30
. . . and Eric Alexander, in the poker-themed disc photos, holds a straight flush in diamonds. That about sums it up: this recording deals listeners a virtually unbeatable hand.
I have to admit, this kind of thing--jazz standards played pretty straight--isn't my usual cup of tea. But Alexander's turned into such a strong player that he breathes immense vitality into this tired formula.
Let's start with his tone. Over about his past three or four releases as leader, Alexander has greatly advanced in power and precision. Sounding sometimes like the one to carry on and advance Michael Brecker's Coltrane legacy, other times like Joe Lovano's more nimble twin (!), yet again like a more muscular Robin Kenyatta, and even deftly rolling out some Joe Henderson moves, all the while maintaining his own distinct approach, Alexander is emerging as one of the very top tenor players of his generation. One of the things that characterizes his playing is his tonal command throughout the entire range of the saxophone, something only the very top players are able to master. His brilliant extended solo on "Typhoon 11," simply astounds with its precision maintained over the course of some very creative and intense blowing.
One next notices his ability to choose unlikely, often neglected old show tunes and movie themes and imbue them with exciting new life even as he remains essentially faithful to their peculiar genius. The title cut, which apparently has never been tackled by any jazzman of note, amply demonstrates this. He turns what in other hands might come off as sentimental histrionics into a piece that achieves genuine pathos, reminiscent of similar tactics by Brad Mehldau's approach to odd standards. Admittedly, Harold Mabern, the astounding septuagenarian pianist and mentor of Alexander, largely accounts for the selection of these curiosities. But it is Alexander who has figured out how to instill them with such casual brilliance. It should also be noted that there is not the slightest bit of irony or postmodernism in his approach. He genuinely loves the music of the thirties and forties and manages to be faithful to it even as he brings it into the twenty-first century.
The standout among the non-originals (Alexander penned three of the eight tunes) certainly must be his very unusual but entirely satisfying take on Monk's classic, "Ruby My Dear." Taking it a much quicker tempo than usual, he also makes it swing mightily, something which few if any other players have ever seen in the tune. Of the three originals, "Little Lucas," with its classic loping post-bop vibe, its tricky changes, and gorgeous melody, makes the strongest impression, but the other two, "Typhoon 11" and "Open and Shut" also represent very accomplished jazz writing, arranging, and playing.
The core of this band, leader Alexander (tenor sax), pianist Mabern (piano, a hugely underrated player), and Joel Farnsworth (a drummer who's played on a number of important gigs lately and has chops and taste to burn), has been together for quite some time, and it shows: they get that deep-pocket groove that only the most brilliant and familiar units achieve. Newcomer Nat Reeves on bass, another player of huge accomplishment though probably not much known outside hard-core jazz circles, seems a perfect fit. Together they achieve both uncommon rapport and a very attractive restless energy that propels the proceedings into the musical stratosphere.
A note about the sound: recorded by the ageless Rudy Van Gelder at his famous studio, this disc displays brilliant clarity and imaging. Indeed, the Van Gelder genius shines brighter here than on any recording by anybody that I can remember.
All in all, a spectacular outing, establishing Eric Alexander and band as one of the most important working jazz bands on the scene today. Not to be missed.
By Jan P. Dennis "Longboard Jazzer" (Monument, Co USA)
I have to admit, this kind of thing--jazz standards played pretty straight--isn't my usual cup of tea. But Alexander's turned into such a strong player that he breathes immense vitality into this tired formula.
Let's start with his tone. Over about his past three or four releases as leader, Alexander has greatly advanced in power and precision. Sounding sometimes like the one to carry on and advance Michael Brecker's Coltrane legacy, other times like Joe Lovano's more nimble twin (!), yet again like a more muscular Robin Kenyatta, and even deftly rolling out some Joe Henderson moves, all the while maintaining his own distinct approach, Alexander is emerging as one of the very top tenor players of his generation. One of the things that characterizes his playing is his tonal command throughout the entire range of the saxophone, something only the very top players are able to master. His brilliant extended solo on "Typhoon 11," simply astounds with its precision maintained over the course of some very creative and intense blowing.
One next notices his ability to choose unlikely, often neglected old show tunes and movie themes and imbue them with exciting new life even as he remains essentially faithful to their peculiar genius. The title cut, which apparently has never been tackled by any jazzman of note, amply demonstrates this. He turns what in other hands might come off as sentimental histrionics into a piece that achieves genuine pathos, reminiscent of similar tactics by Brad Mehldau's approach to odd standards. Admittedly, Harold Mabern, the astounding septuagenarian pianist and mentor of Alexander, largely accounts for the selection of these curiosities. But it is Alexander who has figured out how to instill them with such casual brilliance. It should also be noted that there is not the slightest bit of irony or postmodernism in his approach. He genuinely loves the music of the thirties and forties and manages to be faithful to it even as he brings it into the twenty-first century.
The standout among the non-originals (Alexander penned three of the eight tunes) certainly must be his very unusual but entirely satisfying take on Monk's classic, "Ruby My Dear." Taking it a much quicker tempo than usual, he also makes it swing mightily, something which few if any other players have ever seen in the tune. Of the three originals, "Little Lucas," with its classic loping post-bop vibe, its tricky changes, and gorgeous melody, makes the strongest impression, but the other two, "Typhoon 11" and "Open and Shut" also represent very accomplished jazz writing, arranging, and playing.
The core of this band, leader Alexander (tenor sax), pianist Mabern (piano, a hugely underrated player), and Joel Farnsworth (a drummer who's played on a number of important gigs lately and has chops and taste to burn), has been together for quite some time, and it shows: they get that deep-pocket groove that only the most brilliant and familiar units achieve. Newcomer Nat Reeves on bass, another player of huge accomplishment though probably not much known outside hard-core jazz circles, seems a perfect fit. Together they achieve both uncommon rapport and a very attractive restless energy that propels the proceedings into the musical stratosphere.
A note about the sound: recorded by the ageless Rudy Van Gelder at his famous studio, this disc displays brilliant clarity and imaging. Indeed, the Van Gelder genius shines brighter here than on any recording by anybody that I can remember.
All in all, a spectacular outing, establishing Eric Alexander and band as one of the most important working jazz bands on the scene today. Not to be missed.
By Jan P. Dennis "Longboard Jazzer" (Monument, Co USA)
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