Eric Alexander Quartet Biography
Eric Wells Alexander, 4 August 1968, Galesburg, Illinois, USA. Born to a pair of musically inclined and encouraging parents, Alexander began taking piano lessons at eight years old and showed a great deal of promise. At 10, when instruments were distributed for the elementary school band, young Alexander chose the clarinet. He did not excel at the instrument, however, and soon found himself demoted to the bass clarinet. Upon finding a teacher at the age of 12, he switched to alto saxophone. Alexander continued in the school band programmes and state competitions, playing what classical saxophone works could be found. His interest in jazz at this age was minimal but he did gravitate towards the more contemporary saxophone artists including David Sanborn, Tom Scott and Michael Brecker. After graduating from high school, with a switch to tenor saxophone, Alexander attended Indiana University with only a partial intent to study music. It was a very influential teacher at this time, David Baker, who began to steer Alexander in the direction of becoming a serious jazz musician. His instruction and advice gave Alexander a firm musical foundation upon which he still relies heavily to this day. After a year with Baker, in 1987 Alexander made the decision to transfer to William Patterson College in New Jersey in an effort to be closer to New York City. It was here, under the guidance of teachers such as Joe Lovano, Harold Mabern and Rufus Reid, that he began to absorb the knowledge and experience that would define his musical future. While playing local bar gigs and college competitions with classmates, Alexander began an intense study of all of the saxophone masters. Sonny Stitt, Dexter Gordon, John Coltrane, George Coleman and Joe Henderson, among others, became major influences on him. After obtaining his Bachelor degree from William Patterson, Alexander made the decision to return to Chicago to try his hand at becoming a professional player in a smaller arena than New York City. Soon after arriving in Chicago, Alexander became part of organist Charles Earland's working ensemble and made his first major recording, Unforgettable, with this group. In 1991, Alexander competed in the Thelonious Monk Competition and placed second behind Joshua Redman. This gave him the confidence to return to New York and further pursue his career in jazz. The owner of Delmark Records had heard Alexander in Chicago and offered to record the young saxophonist. His first release as a leader, 1992's Straight Up, included his former teacher, Harold Mabern. While playing in Philadelphia, Alexander was heard by the Criss Cross label and went on to record the aptly titled New York Calling. It was through his association with Criss Cross producer Gary Teekens that Alexander began to work with some of the best jazz musicians in New York. He soon found himself in the company of such renowned artists as Melvin Rhyne, Cecil Payne, Kenny Barron, Irene Reid, Cedar Walton and Freddie Hubbard. Alexander continued to record for the Chicago-based Delmark label with Up, Over & Out, Stablemates with saxophonist Lin Halliday, and Mode For Mabes, with Mabern once again. At the same time, his Criss Cross releases included Full Range, In Europe, and Two Of A Kind. In the late 90s Alexander began recording for Milestone, releasing the excellent Man With A Horn on which he was joined by pianist Cedar Walton, bass player Dwayne Burno, and drummer Joe Farnsworth. Between his many sessions as a sideman for other artists and his busy playing schedule, Alexander has found the time to join a group of his contemporaries, Farnsworth, trombonist Steve Davis, trumpeter Jim Rotondi, bass player Peter Washington, pianist David Hazeltine, and guitarist Peter Bernstein, in the New York-based One For All. In 1997, this group released the highly acclaimed Too Soon To Tell and remains an outlet for fresh ideas while still maintaining a deep sense of tradition, evident in their work with organ master Charles Earland. Alexander is a saxophonist of great lyrical ability while playing with a strength and agility beyond most of his peers. He always remains a student of his art and is constantly striving to further develop his sound and style while maintaining his grasp of the rich tradition of his instrument. He is always conscious of his contemporaries and believes that acoustic jazz has a very bright future as an outlet for a world of increasing isolation by technology.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.
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