{"id":11164,"date":"2025-08-21T21:16:52","date_gmt":"2025-08-22T02:16:52","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11164"},"modified":"2025-08-21T21:16:52","modified_gmt":"2025-08-22T02:16:52","slug":"alexander-herring-split-decision","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/alexander-herring-split-decision\/","title":{"rendered":"Review: Eric Alexander and Vincent Herring\u2019s \u2018Split Decision\u2019"},"content":{"rendered":"\n<p>Tenorist Eric Alexander and altoist Vincent Herring celebrate the twentieth anniversary of their first saxophone \u2018battle\u2019 on <em>Split Decision <\/em>(SMOKE Sessions, 2025),&nbsp; recorded live at NYC\u2019s SMOKE Jazz Club. This is the third time on record that the two giants have sparred, with each session growing a little friendlier since 2005\u2019s <em>The Battle<\/em> (Highnote, 2005). Cutting battles are mostly a thing of legend and yesteryear, specifically the late \u201840s through the mid \u201860s. The saxophonists seemingly admit the idea of battles are left to the past, calling their second meeting in <em>Friendly Fire <\/em>(HighNote, 2012) and their newest match a draw even before they took to the bandstand. Instead, we find a shared mutual admiration by two cats who enjoy playing together. On Split Decision, they are backed by a top-shelf rhythm section that includes pianist Mike LeDonne, bassist John Webber, and legendary drummer Lewis Nash. Straight-ahead jazz gets plenty vibrant in the hands of this stellar quintet.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_Of_bslZM7zs\"><div id=\"lyte_Of_bslZM7zs\" data-src=\"\/\/i.ytimg.com\/vi\/Of_bslZM7zs\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/Of_bslZM7zs\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/Of_bslZM7zs\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Alexander and Herring are from the same generation, the former only five years younger. Herring has worked with Nat Adderley, Freddie Hubbard, Cedar Walton, and Horace Silver, to mention a few. Alexander built his reputation with his mentor, the late Harold Mabern, but has also collaborated with Charles Earland, Cecil Payne, and his peers such as Joe Farnsworth, Steve Davis, and the late Jim Rotondi.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_-cmh2en1LJQ\"><div id=\"lyte_-cmh2en1LJQ\" data-src=\"\/\/i.ytimg.com\/vi\/-cmh2en1LJQ\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/-cmh2en1LJQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/-cmh2en1LJQ\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>The set commences with \u201cPharaoh\u2019s Dance,\u201d composed by Steve Davis. The piece honors Pharoah Sanders and McCoy Tyner and first appeared on Davis\u2019s <em>Generations<\/em> (SMOKE Sessions, 2022). Leaning a bit on the esoteric side, it stands apart from the other five tracks. It features a cascading solo from Alexander, and a reaching, soaring take from Herring as the rhythm section drives them hard. While they may have had to dig in and rehearse that one, Horace Silver\u2019s \u201cStrollin\u2019\u201d came as naturally as breathing to both, even if Herring never played while he was a member of the composer\u2019s band.&nbsp; This one also showcases Webber\u2019s sturdy walking bassline and solo to boot. As you listen to both horns, there are equally unison and contrapuntal lines here and elsewhere. It\u2019s the essence of soul-jazz from that mid-60s period that these two saxophonists often gravitate toward, borne out in three of the four other choices.<\/p>\n\n\n\n<p>The album also features two tunes by Hank Mobley, whom Leonard Feather once dubbed \u201cthe middleweight champion of the tenor saxophone.\u201d The first, the blistering fast-paced \u201cA Peck A Sec,\u201d first appeared on Freddie Hubbard\u2019s <em>Goin\u2019 Up<\/em> (Blue Note, 1961). Both horns swing fluidly, as does LeDonne, who also finds this classic music squarely in his wheelhouse. Their shared penchant for Mobley\u2019s melodies appears again in the mid-tempo grooves of \u201cSoft Impressions.\u201d Even the closer, \u201cMo\u2019s Theme,\u201d bears soul-jazz tinges as it was written by Nat Adderley\u2019s pianist Rob Bargat, whom Herring once recruited for Nat\u2019s band. An album of this nature usually includes a standard, as is the case with Rodgers and Hart\u2019s \u201cMy Romance.\u201d Simply stated, this is the album standout. The playing couldn\u2019t be more gorgeously sublime.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_R4K-SXjqhOQ\"><div id=\"lyte_R4K-SXjqhOQ\" data-src=\"\/\/i.ytimg.com\/vi\/R4K-SXjqhOQ\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/R4K-SXjqhOQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/R4K-SXjqhOQ\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>The playing on <em>Split Decision<\/em> lives up to the album title, complementary rather than adversarial in any sense. Two of today\u2019s finest saxophonists shine throughout with both fire and sensitivity in the company of an elite rhythm section.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018Split Decision\u2019 will be released on SMOKE Sessions on August 22, 2025. It can be purchased <a href=\"https:\/\/ericalexander-vincentherring.bandcamp.com\/album\/split-decision\">on Bandcamp<\/a>. <\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tenorist Eric Alexander and altoist Vincent Herring celebrate the twentieth anniversary of their first saxophone \u2018battle\u2019 on Split Decision (SMOKE Sessions, 2025),&nbsp; recorded live at NYC\u2019s SMOKE Jazz Club. This is the third time on record that the two giants have sparred, with each session growing a little friendlier since 2005\u2019s The Battle (Highnote, 2005). [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11163,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":175,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-11164","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2U4","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11264,"url":"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/","url_meta":{"origin":11164,"position":0},"title":"Review: &#8216;George Coleman with Strings&#8217;","author":"Jim Hynes","date":"September 8, 2025","format":false,"excerpt":"There are no written rules for NEA Jazz Masters. 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George Coleman with Strings (High Note, 2025), unequivocally the most gorgeous album of the\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11528,"url":"https:\/\/postgenre.org\/staging\/4567\/review-chad-taylor-smoke-shifter\/","url_meta":{"origin":11164,"position":1},"title":"Review: Chad Taylor\u2019s \u2018Smoke Shifter\u2019","author":"Jim Hynes","date":"November 6, 2025","format":false,"excerpt":"Drummer\u00a0Chad Taylor\u00a0is perhaps best known for his work as a sideman for the likes of James Brandon Lewis, Marc\u00a0Ribot, Luke Stewart, jaimie branch, and many others, but his latest,\u00a0Smoke Shifter (Otherly Love), is his sixth album as a\u00a0leader. Those aforementioned names suggest an edgy, \u2019out\u2019 approach. Instead, with Smoke Shifter,\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11610,"url":"https:\/\/postgenre.org\/staging\/4567\/review-martian-sunset-bill-ware\/","url_meta":{"origin":11164,"position":2},"title":"Review: Bill Ware and the Club Bird All Stars\u2019 \u2018Martian Sunset\u2019","author":"Jim Hynes","date":"December 1, 2025","format":false,"excerpt":"The vibraphonist Bill Ware is perhaps best known for his work with The Jazz Passengers and Groove Collective. 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Since 2016, he has composed over two hundred and fifty pieces, including sixty\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5804,"url":"https:\/\/postgenre.org\/staging\/4567\/april-2023-capsule-reviews\/","url_meta":{"origin":11164,"position":3},"title":"April 2023 Capsule Reviews","author":"PostGenre Writing Staff","date":"April 27, 2023","format":false,"excerpt":"For April, Brian Kiwanuka and Rob Shepherd provide capsule reviews of four recordings by saxophonists who are pushing music in new directions: Ingrid Laubrock\u2019s\u00a0The Last Quiet Place\u00a0(Pyroclastic, 2023) [which you can also read more about here], James Brandon Lewis\u2019\u00a0Eye of I\u00a0(Anti, 2023), Ben Wendel's All One\u00a0(Edition, 2023), and John Zorn's\u2026","rel":"","context":"In &quot;Capsule Reviews&quot;","block_context":{"text":"Capsule Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/capsule-reviews-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5812,"url":"https:\/\/postgenre.org\/staging\/4567\/avram-fefer-juba-lee\/","url_meta":{"origin":11164,"position":4},"title":"Review: Avram Fefer\u2019s \u2018Juba Lee\u2019","author":"John Chacona","date":"May 1, 2023","format":false,"excerpt":"F\u200b\u200bor the last quarter of the 20th century, Italian labels Black Saint and Soul Note issued an influential series of recordings by Black American artists, including the World Saxophone Quartet and its members Hamiet Bluiett, Julius Hemphill, Oliver Lake, and David Murray. 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