Robert Alexander

Robert Alexander emerged from the Tommy Dorsey school of direct, swinging phrases and attractive melodies to establish himself among the elite studio musicians of the recording industry. He frequently lent his talents to vocal sessions featuring Perry Como and Frank Sinatra. Hailing from New England, he first took up the horn during his high-school band days. In 1940 he became a member of the Fenton Brothers Orchestra, soon after which he teamed with the forward-thinking Joe Marsala on dance-band gigs that supplemented their income. His service in the Coast Guard lasted until 1945, after which he took a chair in the orchestra of Jimmy Dorsey, sibling of the trombonist he had idolized from the start. Roughly six months touring with Eddy Duchin preceded his entry into freelance work, an experience that may have encouraged him to reconsider his professional path.

Although primarily occupied as a sideman, Alexander recorded the album Progressive Jazz for the Grand Award label. The title appears mismatched for a player of such conventional orientation, yet it aligns with the trajectory of his developing career. Studio musicians of his caliber discovered methods for navigating the varied musical material presented to them. Their contributions, including his own, occasionally brought striking vitality to the proceedings. The arranger often determined the outcome, and at times the role reduced to supplying the precise ornamental touches requested. Nevertheless, Alexander’s studio work never invited charges of undue caution. He participated in distinctive projects ranging from a progressive-rock solo album by Jan Akkerman to landmark sessions with the folk ensemble the Weavers. Among the album titles featuring his playing, Eartha Quake by Eartha Kitt stands out for its particularly strained wordplay.