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| 1. | Mode for Mabes
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| 2. | Sugar Ray
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| 3. | For Heaven's Sake
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| 4. | Erik the Red
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| 5. | Love Thy Neighbor
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| 6. | Stay Straight
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| 7. | Stairway to the Stairs
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| 8. | Naima
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Jazz / Post-Bop, Straight-Ahead Jazz
Eric Alexander - Saxophone
Al Brandtner Design
George Fludas Drums
Harold Mabern Piano
James Rotundi Trumpet
John Webber Bass
Lloyd Sachs Liner Notes
Paul Serrano Engineer
Robert G. Koester Producer, Album Supervision
Steve Davis Trombone
When Eric recorded his first album in 1993 he was the new kid on the block. That Delmark CD, Straight Up (Delmark 461), firmly established Eric as a mature tenor saxophonist even though he was only 23 years old. His albums have sold very well and the critics have praised his playing often comparing him to Dexter Gordon. The supporting cast of Straight Up is back - Harold Mabern, piano; Jim Rotundi, trumpet; John Webber, bass; and George Fludas, drums - with the addition of trombonist Steve Davis.
Coming of age as a premier tenor saxophonist, Alexander pays tribute to the jazz icon from Memphis, pianist Mabern, by featuring him on this recording with a sextet who also pay a debt to the great edition of Art Blakey's Jazz Messengers frontlined by Wayne-Shorter, Lee Morgan, and Curtis Fuller. This is modern mainstream post-to-hard bop at its finest, wth Alexander and Mabern's supporting cast making all of this music simply come alive. Trombonist Steve Davis, trumpeter Jim Rotundi, bassist John Webber, and drummer George Fludas clearly have Blue Note and Riverside late-'50s jazz in their bones, and it seeps out of every swinging pore. Alexander shows much influence from Shorter, George Coleman, and Joe Henderson. His sound is fleet, literate, and blues-drenched, and he hits every note with seeming perfection and deep knowledge. Featured on the ballad to easy-swinging versions of "Stairway to the Stars" and "For Heaven's Sake," his performances further evidence his development as a topnotch interpreter and improvisor. The rest of the band achieve good solos on the over ten-minute "Heaven's Sake" and the 11-minute plus, 6/8 version of "Naima." The musicians in this frontline, with their rich harmonic tilt, assert themselves collectively on "Naima," the title track, and "Erik the Red," their strong suit. "Erik," penned by Davis, is truly a great piece of spirited writing that displays unity, anchored by Mabern's repeated triple chords and Alexander's long, loping giraffe-neck lines. "Mode for Mabes" not only lets the band fly on a Jazz Messenger-flavored, easy-swinging, democratic melody, but it also casts a bright spotlight on Mabern. He is about as lyrical a pianist as there is in jazz today, and this piece, as well as the other compositions, shows the compatible group making those melodic statements blossom. Whether chiming and resonant for the intro of "Stairway," brimming with soul and conviction on Phineas Newborn Jr.'s "Sugar Ray," or absolutely killing on his solo during "Naima," Mabern's musicianship is as precious as a truckload of diamonds. Of course, the band can swing hard, as they do on the dramatic, meaty melody of "Stay Straight"; they can also get happy, chasing all cares away on the easy swinger "Love Thy Neighbor." You won't find a better modern mainstream jazz recording of the '90s than this one. It's a canididate for best jazz CD of 1998, a feather in Alexander's cap, and a musical triumph for Mabern; it can not come less than highly recommended. ~ Michael G. Nastos, All Music Guide
Eric Alexander
Active Decades: '90s and '00s
Born: 1968 in Illinois
Genre: Jazz
Styles: Post-Bop, Hard Bop
A fine hard bop player who grows a bit in individuality each year, Eric Alexander grew up in the state of Washington. He initially attended Indiana University, studying classical music as an altoist. However, Alexander soon discovered jazz, switched to the tenor, and transferred to William Paterson College in New Jersey. After graduating, he moved to Chicago and soon gained important experience touring with Charles Earland while also becoming a fixture in local clubs. In 1991, Alexander placed second at the Thelonious Monk Institute's saxophone competition, finishing just behind Joshua Redman. In 1992, he relocated to New York and that year made his recording debut as a leader with a set for Criss Cross. Alexander was set to join Art Taylor's Wailers in 1995 when the drummer passed away. Influenced by Dexter Gordon and George Coleman, but gradually developing a more original sound, Alexander has also worked with Mel Rhyne, Cecil Payne, Kenny Barron, and Eddie Henderson, among others. Alexander recorded two additional sets as a leader for Criss Cross, was part of their Tenor Triangle session, and cut several heated CDs for Delmark, including one that he co-leads with veteran tenor Lin Halliday. His 11th album, Man With a Horn, was licensed for U.S. release in 1999 by Milestone, which also issued the follow-up, The First Milestone, in 2000. Since that time, Alexander has kept busy releasing a steady slew of albums including Summit Meeting in 2002, Dead Center in 2004, Temple of Olympic Zeus in 2007 and Prime Time: In Concert in 2008 among others.
---Scott Yanow, All Music Guide |
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