One of the finest jazz guitarists in Philadelphia, Jimmy Bruno is a passionate hard bopper who loves to swing aggressively but can be a very sensitive ballad player when he puts his mind to it. The Italian-American was raised in South Philly, where he fell in love with jazz as a kid and took up the guitar at the age of seven. Growing up, he was influenced by such bop guitar greats as Joe Pass, Kenny Burrell, Barney Kessel and Jimmy Raney but also admired the pre-bop work of Eddie Lang, Charlie Christian and Django Reinhart. At 19, Bruno hit the road as a sideman for The Buddy Rich Band before ended up spending much of his youth living in the West--where he did a lot of non-jazz gigs in Los Angeles and Las Vegas. Although those live and studio pursuits paid the bills for Bruno, he never gave up hard bop and hoped to eventually be a full-time jazz musician. Returning to Philly in 1988, a 35-year-old Bruno was determined to do exactly that even it meant being poor for awhile. An article in the Philadelphia Weekly quoted Bruno as saying that he went from earning several thousand dollars a week in the West to working for minimum wage at “a real dive" in Philly's Fairmount section--but that he was happy and fulfilled because he was playing live jazz five nights a week. Eventually, Bruno was able to give up part-time bartending and concentrate on nothing but playing and teaching jazz. In the early 1990s, he came to the attention of the late Concord Jazz founder/president Carl Jefferson, who was impressed with his playing and signed him to the label. Bruno's first album as a leader, Sleight of Hand, was recorded in 1991, followed by other bop-oriented Concord dates like Burnin' in 1994 and Like That (which featured organist Joey DeFrancesco) in 1995. The late 1990s found Bruno continuing to record for Concord while playing and teaching extensively around Philly. His first Live at Birdland recording appeared in 1997; its sequel, a collaboration with tenor saxophonist Scott Hamilton, followed two years later. Bruno next resurfaced in the spring of 2000 with Polarity.
Boasting a warm, finely burnished tone and a robust melodic and harmonic imagination, tenor saxophonist Eric Alexander brings a seasoned veteran's proficiency and poise to each performance he tackles. The 34-year-old colossus-on-the-rise has been exploring new musical worlds from the outset. He started out on piano as a six-year-old, took up clarinet at nine, switched to alto sax when he was 12, and converted to tenor when jazz became his obsession during his one year at the University of Indiana, Bloomington (1986-87). At William Paterson College in New Jersey he advanced his studies under the tutelage of Mabern, Joe Lovano, Rufus Reid, and others. “The people I listened to in college are still the cats that are influencing me today," says Alexander. “Monk, Dizzy, Sonny Stitt, Clifford Brown, Sonny Rollins, Jackie McLean, Joe Henderson--the legacy left by Bird and all the bebop pioneers, that language and that feel, that's the bread and butter of everything I do. George Coleman remains a big influence because of his very hip harmonic approach, and I'm still listening all the time to Coltrane because I feel that even in the wildest moments of his mid- to late-Sixties solos I can find these little kernels of melodic information and find ways to employ them in my own playing."
During the 1990s, after placing second behind Joshua Redman in the 1991 Thelonious Monk International Saxophone Competition, Alexander threw himself into the whirlwind life of a professional jazz musician. He played with organ trios on the South Side of Chicago, made his recording debut in 1991 with Charles Earland, and cut his first album as leader in 1992 (Straight Up for Delmark). More recordings for Delmark, Criss Cross, and Alfa followed, leading to 1997's Man with a Horn; the 1998 collaborative quartet session with George Mraz, John Hicks, and Idris Muhammad, Solid!; and, that same year, the first recording by One For All, Alexander's ongoing band with Jim Rotondi, Steve Davis, Joe Farnsworth, Peter Washington, and Dave Hazeltine.
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