Eric Alexander, Timing Is Everything Review

by Adorjan Horvát

Eric Alexander’s latest album, Timing Is Everything, released on May 24, 2024, by Cellar Live, encapsulates the essence of contemporary jazz through its vibrant and meticulous execution. Alexander, renowned for his robust melodic and harmonic imagination, offers a compelling journey into the heart of jazz, deftly weaving his extensive musical lineage into each track.

Eric Alexander’s journey with the saxophone reads like a rich narrative of musical exploration and discovery. Starting on piano at six, transitioning through clarinet and alto sax, and finally finding his true voice on the tenor sax during his college years, Alexander’s development was significantly influenced by jazz legends such as John Coltrane, Sonny Rollins, and Joe Henderson. His time at William Paterson College, under the guidance of Harold Mabern, Joe Lovano, and Rufus Reid, further honed his craft, cementing his place within the bebop tradition.

Throughout the 1990s, Alexander made a name for himself, from placing second in the 1991 Thelonious Monk International Saxophone Competition to collaborating with notable musicians and recording extensively. His work with organ trios on the South Side of Chicago and his numerous recordings, including the 1992 debut Straight Up and the 1998 Solid!, have established him as a formidable presence in jazz.

Recorded at the iconic Van Gelder Studio, Timing Is Everything is built on Alexander’s philosophy that in life and music, timing is the most crucial element. This album features a core quartet with Rick Germanson on piano, Alexander Claffy on bass, and Jason Tiemann on drums, and includes guest appearances by Jed Paradies on flute, Rale Micic on guitar, Alma Micic on vocals, and Stan Wetering on tenor saxophone.

“After the Rain” opens the album with a powerful modal exploration that sets the tone for the entire record. The ensemble builds an atmosphere of camaraderie and interaction, with Alexander’s warm tone and lyrical playing shining through. His solo blends hard bop, modal jazz, and contemporary sounds, creating a buoyant swing with sophisticated interplay that captures the listener’s attention from the start.

“But Beautiful” follows, with Germanson’s piano introduction providing a lush and flowing backdrop for the ensemble. Alexander’s performance of this well-known standard allows his harmonic and melodic language, rooted in the jazz canon, to shine. His solo balances melodic and active ideas, while Claffy and Tiemann provide solid support and interactive communication, making the track stimulating and intimate.

“Serenade to a Cuckoo” brings fresh energy to the stage, with guest artists Jed Paradies playing the flute and Rale Micic playing the guitar. This track delivers a buoyant and swinging rendition, with Alexander’s saxophone soaring amidst bop sophistication and bluesy vibes. Paradies and Micic contribute fantastic solos, adding new and interesting sonic sounds that enhance the album’s dynamic flow.

“Big G’s Monk” is an up-tempo swing that features a thrilling interplay between Alexander and Stan Wetering on saxophone. The chemistry between the two tenors propels the track to exciting heights, with Germanson’s closing solo encapsulating the spirited dialogue. This track is fluid and uplifting, showcasing the ensemble’s ability to express technique and emotional control.

“Sasquatch” introduces an intricate Latin jazz meets Afro-Caribbean feel based on well-known chord changes. The ensemble demonstrates their jazz language through shifting harmony, with Alexander’s rhythmic command and melodic lines navigating the ever-changing landscape. Tiemann’s drumming, filled with cross-rhythms, maintains the groove and adds to the track’s exotic and danceable appeal.

“Misty” sees Alexander blending jazz history with contemporary sounds in a captivating rendition of this classic. His solo builds an impressive narrative, making the longest track on the album a standout. Nostalgic and swaying, “Misty” resonates with timeless charm and emotional depth.

The title track, “Timing Is Everything,” is a feel-good medium-tempo swing that lets the ensemble revel in a jazz blues variation. Alexander balances technique with lyrical and bluesy motifs, creating a joyful and celebratory track that embodies the essence of swing.

“Evergreen” features Alma Micic’s vocals, adding elegance and a jazz-inflected energy to this pop classic. Her performance and the ensemble’s backing bring a new color and texture, offering a reflective and introspective mood.

“Someone,” the bonus track, closes the album with a contemporary hard bop medium swing. Alexander’s solo, alongside Germanson’s communicative interplay, highlights the excellent chemistry within the ensemble. Fun and swinging, this track leaves a lasting impression, ending the album on a high note.

Timing Is Everything is a nuanced and dynamic album that highlights Alexander’s mastery of the tenor saxophone. His ability to blend the rich legacy of bebop with contemporary jazz elements creates a timeless yet fresh soundscape. The album’s seamless interplay, diverse track selection, and the inclusion of special guests contribute to its depth and variety, making it a significant addition to Alexander’s discography. That’s the short of it!

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