01. Revival
02. My Grown-Up Christmas List
03. The Island
04. Too Late Fall Back Baby
05. Love-Wise
06. Blues For Phineas
07. You Must Believe In Spring
08. Yasashiku(Gently)

Eric Alexander (Tenor sax)
Harold Mabern (Piano)
Nat Reeves (Bass)
Joe Farnsworth (Drums)

It isn't hard to understand why Eric Alexander has employed acoustic pianist Harold Mabern on more than a few of his albums. The big-toned tenor saxophonist has enjoyed a strong rapport with his former teacher, and that rapport is very much in evidence on Revival of the Fittest. Alexander employs Mabern on almost every song on this 2009 recording; the exception is Alexander's contemplative "Yasashiku (Gently)," which finds Alexander performing a tenor/piano duet with Mike LeDonne. But Alexander features Mabern on every other track, and the two of them form a cohesive acoustic quartet with bassist Nat Reeves and drummer Joe Farnsworth. One has high expectations when Alexander and Mabern get together; they don't let us down on a hard bop/post-bop CD that ranges from inspired performances of George Coleman's "Revival," Ivan Lins' "The Island," and Michel Legrand's "You Must Believe in Spring" to two Mabern pieces that the pianist previously recorded on albums of his own (the driving "Too Late Fall Back Baby" and the Phineas Newborn, Jr.-dedicated "Blues for Phineas"). Ballads have long been one of Alexander's strong points, and he reminds us how expressive a ballad player he can be on Marvin Fisher's "Love-Wise" (which Nat King Cole made famous with a Nelson Riddle-arranged recording in 1958). Alexander's performance of "Love-Wise" recalls John Coltrane's hard bop period of the late ‘50s, when he was recording for Prestige; Trane gave us some delightfully lyrical recordings of ballads during his pre-Atlantic period (including "Stardust," "Lush Life," and "Invitation"), and Alexander acknowledges Prestige-era Trane on "Love-Wise" but does so without allowing his own personality to become obscured. Revival of the Fittest is yet another example of how rewarding an Alexander album can be when Mabern is on board. ---Alex Henderson, Rovi

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01. You Don't Know What Love Is (G.De Paul, D.Rays) 7:36
02. Dear Lord (J.Coltrane) 6:59
03. On The Misty Night (T.Dameron) 7:21
04. Chim Chim Cheree (Richard M.Sherman) 7:50
05. Pursuance (J.Coltrane) 8:37
06. Afro Blue (M.Santamaria)) 7:19
07. The Night Has A Thousand Eyes (J.Brannin) 10:11
08. Wise One (J.Coltrane) 6:35				play

Personnel:
Eric Alexander (Tenor Saxophone);
Harold Mabern (Piano);
John Webber (Bass);
Joe Farnsworth (Drums).

Chim Chim Cheree has been dubbed "a tribute to John Coltrane." Returning with usual sidemen Harold Mabern at the piano, Joe Farnsworth on drums, and bassist John Webber, this album represents a thorough examination of Coltrane's music made up of Coltrane originals and tunes Coltrane ostensibly owned throughout his career. While George Coleman, Dexter Gordon, and Sonny Stitt are most often cited as the foremost influences on Alexander, Coltrane is clearly among them.

Alexander's take on "You Don't Know What Love Is" showcases his lush subtone in the lower register as he cadenzas his way through the opening of the tune with grace and sophistication. Seemingly a bit drab for an opener, Alexander sparks some life into this with tasty lines—bluesy and bop, with enough variety to keep the listener engaged.

Mabern takes charge on "Dear Lord," setting up an active samba-like groove while offering subtle harmonic shifts and tasteful, melodic comping. Much more in the Alexander vein than Coltrane, it contains a sublime, lively energy.

Tadd Dameron's "On a Misty Night" is a gem from the bop era that unfortunately rarely gets played or recorded. Mabern's approach is a bit dated, swinging more like Brubeck than Dameron, but still manages some nice lines. Unfortunately, Alexander doesn't really kick things into gear and sound comfortable until trading with Farnsworth. A double time feel in the bridge as in the original recording Mating Call (Prestige, 1956) would have been refreshing here.

"Chim Chim Cheree" and "Pursuance" are the clear highlights, echoing back to the sound of Coltrane's classic quartet. These two tracks contain a rawness not heard on others from the album. Emotion and creativity at the forefront, Alexander pushes his own boundaries & gets away from simply playing changes to explore something deeper. The communication within the group seems heightened, sounding as if everyone is channeling their representative from Coltrane's classic quartet.

Adding some variety, "Afro Blue" lends itself well to Alexander's riff-like improvisation, allowing endless sequential opportunities over a static harmonic foundation. It would have been nice if this was opened up for both Farnsworth and Webber to come out and play.

"The Night Has a Thousand Eyes" is a powerhouse for both Alexander and Farnsworth, a guy who really knows how to highlight all the wondrous colors of the drum set. With precision and unrelenting commitment to swing, Farnsworth really shines on this one.

With "Wise One," the quartet captures a distinctive mystical and yearning sound that Coltrane had in his best work. Alexander has even seemed to channel a timbre that is closer to Coltrane's, bringing the album to a satisfying point of closure.

As Alexander matures, it sounds as if he's offering more than his typical nicely packaged straight-ahead post-bop. Without question he's taken that just about as far as it is going to go. This album may be the first chapter in what to expect next from this still somewhat young lion. ---Sean Coughlin, allaboutjazz.com

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