Eric Alexander: Like Sugar

Tenor saxophonist Eric Alexander delivers a soulful modern tribute to Stanley Turrentine with his album Like Sugar. Recorded at the renowned Van Gelder Studios in Englewood Cliffs, NJ, with longtime collaborators David Hazeltine on piano, Dennis Carroll on bass, and George Fludas on drums, the album reinterprets Turrentine's spirit rather than simply copying it, resulting in a deeply swinging and cohesive set that blends tradition with contemporary artistry.

Alexander begins this session with one of his originals, "Jave," and incorporates the shout chorus from Turrentine's signature tune "Sugar," using it as a melodic springboard. The outcome is an energetic romp where Hazeltine's solo bridges classic hard bop with modern harmonic touches. Alexander's improvisations showcase his mastery of motivic development, transforming brief ideas into larger statements with clarity and swing. The rhythm section responds with fluid energy, creating a sense of collective momentum. Brazilian music was close to Turrentine's heart, and the quartet's rendition of Antonio Carlos Jobim's composition "Triste" honours that connection with a lilting yet harmonically rich arrangement. Alexander and Hazeltine shape the tune with a bossa nova feel, supported by Carroll and Fludas' rhythmic cushion. Alexander delivers a deeply singing solo, shading his phrases with breathy subtleties and dynamic shifts. Hazeltine's contribution exemplifies restraint and elegance, weaving impressionistic harmonies and pulsing accents.

The title track "Like Sugar" is a contrafact of Turrentine's "Sugar," spinning a new melody and harmonic rhythm over the familiar chord changes. Alexander's approach here is inventive, demonstrating how homage can also mean expansion, with his improvisation carrying a buoyant, almost conversational flow filled with precision. Hazeltine contributes a nimble touch of his own, threading colourful voicings and rhythmic punches. Hank Mobley's "Early Morning Stroll" is handled with unforced swing and rhythmic snap. The quartet stretches out more freely with Alexander's muscular phrasing and Hazeltine's spirited, bluesy turns and fluid runs. Fludas' crisp drumming, including a stellar solo, propels the band forward without rush.

The inclusion of Turrentine's "Is It You" deepens the tribute. In this solid swinger, Alexander's improvisations flow with authority and shadings that would have resonated with Turrentine. Hazeltine covers the keyboard with rich chords and dynamic runs. The rhythm section maintains the tempo that lets the piece unfold naturally. Alexander wisely closes the session with "Love Letters," a favourite of Turrentine's and an enduring standard from the Great American Songbook. His tenor tone is supple, yet full-bodied, leaning into the lyricism that marked Turrentine's finest work. Hazeltine's playing is understated but filled with compelling harmonic touches. Holding it all together, Fludas' brushwork gives the performance a warm glow. In summary, the album reimagines classic influences and original compositions, blending swing, warmth, and lyricism.