Album Reviews

There’s nothing not to like about this hard-driving, straight ahead jazz trio set first issued by Concord in 1984, led by the flamboyant, yet tasteful and ultra-clean pianist Alexander backed by the powerful Ray Brown and drummer Frank Gant.

Alexander opens with a hard-rockin’ “Freddie Freeloader” packed with funky block chords and crisply rendered arpeggiated right hand runs. Next is a Jobim standard, “Once I Loved,” taken at a reasonably leisurely pace but no one’s playing it for subtlety, so some of the bossa nova suaveness gets lost.

A Ray Brown original written for Dizzy Gillespie’s big band in 1946, also taken “full steam ahead,” ends the side, and by now you’ll know whether you are enjoying the show or finding the pyrotechnics mind-numbing. I suppose “jazz purists” and those interested in more introspective fare will be annoyed at this point, but most of those will know enough to stay away from this in the first place.

Side two opens with the standard “Because You’re Mine.” Though taken at a relatively relaxed pace, Alexander still hits the keys “full steam ahead,” emphasizing every note. It can be relentless after a while, and the fine line between virtuosity and showboating occasionally gets crossed. On the other hand, this kind of pyrotechnical playing is crowd-pleasing and again, given the album title, to be expected.

While the take on “I Can’t No Satisfaction” is so far from the melody it’s not totally annoying, there’s not much worth hanging around for as the trio tries to find something worth exploring in the ill-chosen tune, and fails.

I’ll skip the rest of the play by play except to say that Alexander’s take on Randy Weston’s familiar “Hi-Fly” probably strikes the most enjoyable, true note on the two disc set, which is augmented by three bonus tracks from other Concord albums recorded by Alexander.

The close miking spreads the piano across the stage, giving you a pianist’s view of his playing. The drum kit is also splayed the width of the soundstage. Not what one would call a realistic perspective but one that’s entertaining, especially given the excellence of the analog recording.

Yes, on this set Alexander tends to pound a bit and there are glints of glib cocktail bar music in the air, but considering the album title, clearly that’s what the producer ordered.

The sound is as flamboyant as the playing, and equally clean and dynamic. Like the music, it is not for "purist" ears in terms of spatiality, but tonally and dynamically it leaves little to be desired.