On Song of No Regrets, tenor saxophonist Eric Alexander decides to keep things fresh with a Latin beat and a couple unexpected guests. Having worked so prolifically for so long (he's got more than 160 recordings to his name both solo and as a sideman), it's inevitable that Alexander would have more than a few preferred musicians to round out his rhythm section. Rather than sticking with Harold Mabern, who has been his pianist of choice during eight of his quartet sessions in the past decade, he recruits another longtime collaborator in pianist David Hazeltine. Hazeltine has worked with him as far back as 1997 as part of the contemporary post-bop supergroup One for All.
Rounding out the quartet is bassist John Webber and drummer Joe Farnsworth; both familiar faces. But Song of No Regrets becomes truly interesting when the group expands to a sextet. Dominican- born percussionist Alex Diaz and predominantly high- pitched trumpeter Jon Faddis add an entirely new dynamic. Diaz lays a Latin groove over the entirety of the album, giving it a unique sound without straying too far from what listeners expect from Alexander.
The album opens with the two tracks Faddis received guest billing for; the swinging Hazeltine original, "But Here's the Thing" and an absolutely standout, moody rendition of Stevie Wonder's "These Three Words," in which his trumpet briefly steals the limelight. Alexander's self- written song "Grinder" is just inventive enough to keep your interest as well as the trance-like "Corazon Perdido." Hazeltine plays beautifully over a Latin groove on "Mas Que Nada," an otherwise forgettable track written by Jorge Ben Jor but made famous by Sergio Mendes, before sliding into another Alexander original, "Boom Zoom."
The final leg of the album consists of the title song, which is an effusive interpretation of another Sergio Mendes tune and the second true standout of the session. Lastly are "Cede's Shack" and "Up, Up and Away," both warm and lively but otherwise unmemorable tunes.
At a beat over 55 minutes, Song of No Regrets is a well rounded offering that doesn't run the risk of out-staying its welcome and becoming tedious. However, once Faddis and his trumpet exit, the rest of the album has just a bit less to offer. It's certainly an enjoyable romp, and Alexander is clearly a talented tenor, admirably keeping traditional hard bop interesting in the 21st century. But it stops somewhat short of being must- have jazz, falling into the category of comfortable rather than remarkable.
BY PETER J. HOETJES
November 12, 2018
https://www.allaboutjazz.com/song-of-no-regrets-eric-alexander-highnote-records-review-by-peter-hoetjes
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En Song of No Regrets, el saxofonista tenor Eric Alexander decide mantener las cosas frescas con un ritmo latino y un par de invitados inesperados. Habiendo trabajado tan prolíficamente durante tanto tiempo (tiene más de 160 grabaciones a su nombre tanto en solitario como como sideman), es inevitable que Alexander tenga más de un músico preferido para completar su sección rítmica. En lugar de seguir con Harold Mabern, que ha sido su pianista de elección durante ocho de sus sesiones de cuarteto en la última década, recluta a otro colaborador de larga data en el pianista David Hazeltine. Hazeltine ha trabajado con él desde 1997 como parte del supergrupo de post-bop contemporáneo One for All.
Completan el cuarteto el bajista John Webber y el baterista Joe Farnsworth; ambas caras conocidas. Pero Song of No Regrets se vuelve realmente interesante cuando el grupo se amplía a un sexteto. El percusionista de origen dominicano Alex Díaz y el trompetista Jon Faddis, de tono predominantemente alto, añaden una dinámica totalmente nueva. Díaz imprime un ritmo latino a todo el álbum, dándole un sonido único sin alejarse demasiado de lo que los oyentes esperan de Alexander.
El álbum se abre con los dos temas en los que Faddis ha sido invitado: el original de Hazeltine, "But Here's the Thing", y una interpretación absolutamente destacada de "These Three Words" de Stevie Wonder, en la que su trompeta roba brevemente el protagonismo. La canción de Alexander "Grinder", escrita por él mismo, es lo suficientemente inventiva como para mantener el interés, así como el trance de "Corazón Perdido". Hazeltine toca maravillosamente sobre un groove latino en "Mas Que Nada", un tema por lo demás olvidable escrito por Jorge Ben Jor pero hecho famoso por Sergio Mendes, antes de deslizarse hacia otro original de Alexander, "Boom Zoom".
El último tramo del álbum consiste en la canción que da título al disco, que es una efusiva interpretación de otro tema de Sergio Mendes y el segundo tema realmente destacado de la sesión. Por último, "Cede's Shack" y "Up, Up and Away", temas cálidos y animados pero poco memorables.
Con más de 55 minutos, Song of No Regrets es una oferta bien redondeada que no corre el riesgo de quedarse atrás y volverse tediosa. Sin embargo, una vez que Faddis y su trompeta salen, el resto del álbum tiene un poco menos que ofrecer. Sin duda, es un juego agradable, y Alexander es claramente un tenor con talento, que mantiene admirablemente el interés del hard bop tradicional en el siglo XXI. Pero se queda un poco corto para ser un must- have del jazz, cayendo en la categoría de cómodo más que de notable.
POR PETER J. HOETJES
12 de noviembre de 2018
https://www.allaboutjazz.com/song-of-no-regrets-eric-alexander-highnote-records-review-by-peter-hoetjes
01. But Here's the Thing
02. These Three Words
03. Grinder
04. Corazon perdido
05. Mas que nada
06. Boom Zoom
07. Song of No Regrets
08. Cede's Shack
09. Up, Up and Away
Credits:
Eric Alexander (Tenor saxophone, organ); Jon Faddis (Trumpet); David Hazeltine (Piano); John Webber (Bass); Joe Farnsworth (Drums); Alex Diaz (Conga, bongos, auxiliary percussion).
Label: HighNote Records, Inc. – HCD 7311
Released: 2017
Genre: Jazz
Style: Contemporary Jazz, Post Bop, Latin Jazz
https://www.discogs.com/release/11566655-Eric-Alexander-Song-Of-No-Regrets
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