Eric Alexander: Chicago To New York

Tenor saxophonist Eric Alexander's release, Chicago To New York, is a masterclass in modern hard bop that pays homage to the vibrant musical exchange between two of jazz's most storied cities. This is not just a geographical nod but a conversation across time and space, framed by a quartet whose cohesion and shared sensibilities transcend geographical lines.

Alexander, one of the most consistent voices of his generation, joins forces with pianist Mike LeDonne, both standard-bearers of the New York scene. From Chicago, drummer George Fludas and bassist Dennis Carroll offer an equally seasoned and sympathetic rhythm team. What's immediately striking is how organically the group functions. This is no throw-together session or forced concept album. Instead, it serves as a reminder that when musicians of this calibre and conviction come together, the results can be effortlessly potent.

The session opens with a doubleheader of John Coltrane compositions, "Afro Blue" and "Wise One." Although Coltrane is listed on the liner notes as the composer of the first song, it was not originally his composition. That belongs to Mongo Santamaria. Coltrane became immortalized to the number due to his searching modal approach. Alexander, ever the student of tradition, takes up the soprano sax and leans into the tradition. His rendition honours the rhythmic complexity while subtly reining in the cosmic overtones, but nevertheless exploring the thematic material with muscular grace. Fludas' drumming brings a supple Latin undercurrent as LeDonne's voicings are dense but never heavy. Alexander remains on soprano on the second Coltrane offering and renders the ballad with deep emotional intelligence. He does not mimic Coltrane but brings his brand of introspection-robust, yearning and lyrical. The rhythm section brings a warm anchoring pulse while LeDonne provides just the right amount of tension to secure Alexander's solos.

"Only The Lonely" by Sammy Cahn and Jimmy Van Heusen is given a reading that sidesteps melodrama in favour of poignant restraint. Alexander's tone, dark honey with a hint of burn, finds the bruised heart of the melody. Supported only by Carroll's secure rhythm, the performance captures that elusive balance between reverence and personal expression. "Hittin' The Jug," Gene Ammons' swaggering blues is right in the group's wheelhouse. Alexander and LeDonne lock into the groove with unforced bravado, while Fludas and Carroll lay down a swinging pocket that never quits.

The closer is the Matt Dennis torch song "Angel Eyes," which has been covered by dozens of jazz and popular artists. However, it is Frank Sinatra who is more closely associated with the tune than any other performer. He recorded it for his 1958 Capitol Records album Frank Sinatra Sings for Only the Lonely, which he said was his favourite recording. With a Latin tempo, Alexander delivers the melody with deliberate phrasing with LeDonne picking up the atmosphere allowing the tune to unfold with poise. Fludas and Carroll provide the tempo with a simmering tension beneath the surface.

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