Press Quotes

“Alexander’s compact, no-nonsense drumming sustains a rhythmic touchpoint that serves as a reference for the others. Without electronic supplements, he pulls a broad range of colors from his kit.”  Bob Blumenthal, Boston Globe (review of Babkas)

“The result was a jazzy fusion full of galloping rhythms (the combination of Alexander on full drum kit and Singh on Indian percussion was incendiary) and exotic sonorities.” (review of Bagels & Bhangra show: Frank London & Deep Singh)  Seth Rogovoy, The Forward

A former member of Seattle’s Gamelan Pacifica in his formative years, Alexander’s muting techniques and informed exploration of the sonic possibilities of cymbals is absolutely stunning.”      John Ewing, Earshot Jazz

What’s that about the drummer setting the tone? Alexander’s animated percussion style brings a sense of creative frenetics to his little big band.
Jim Macnie, Village Voice (review of Midrash Mish Mosh)

“Alexander is a whirligig of cacophonous energy throughout, barely able to contain himself as his large-ish ensemble matches him note for knuckle.”
Ken Micallef, Modern Drummer (review of Midrash Mish Mosh)

“Alexander flows easily from groove to free play, rephrasing and complementing, supporting with an ever changing palette of sounds.”
Ernie Saylor, Earshot Jazz (review of Babkas)

“Alexander’s drumming and percussion are incredible.”
Ari Davidov, Klezmershack, (review of Midrash Mish Mosh)

“Alexander sounds like Barry Altschul on crystal meth, a dervish on wood blocks and crash cymbals.”
George Robinson, Jewish Week, (review of Midrash Mish Mosh)

“Aaron Alexander’s playing is particularly multifarious. He pounds away like John Bonham in “Ruin 1,” then skitters around like Paul Lytton en fuego on “Ruin 4 – The Megalopolis.” ”
Dave Wayne, (review of Satoko Fujii Orchestra)

“Alexander makes his traps speak for a fleeting, truly melodic solo, and you’ll just wish it didn’t have to end.”
Jeff Morris, (review of Hasidic New Wave)

“…superb technique and taste.”

Chris Kelsey, All Music Guide (review of Babkas)

“Alexander, a former student of Jerry Granelli, embraces this role with enthusiasm, skill, imagination and a keen ear. At times the structures he creates are so rich in invention you can forget you are listening to a drum set . . . But not quite. His time-keeping, often delegated to the high-hat cymbal as he cavorts elsewhere around the melodic rhythm of the tune, is superb.”

Stephen Pedersen, The Mail Star, Halifax- 1993 (review of Steve Fisk Trio)

“Conceived by drummer Aaron Alexander — a master of the conventional trap kit as well as African instruments . . . — the record is challenging but also insistently melodic and, yes, even danceable.” (review of Hasidic New Wave)

” Alexander is an all-around musician whose playing, while often complicated, isn’t intrusive or heavy. A real team man, Alexander leaves room for (others) to stretch out.

Harvey Pekar, Boston Herald (review of Babkas)

“Alexander’s mature, dynamically controlled drumming was fantastic. He is one of those few drummers that sees through the time-keeper tag and approaches his kit as a melodic instrument”

Scott Robinson, Earshot Jazz (review of Aaron Alexander Quartet)

“Drummer Aaron Alexander, reaches beyond time (though implying it all along with the force of a hammer) to a place where rhythm and color are just a different way of looking at the same thing.”

Steven Pedersen, Halifax Mail Star1994 (review of Steve Fisk Trio)

“…his playing is consistently understated and in the pocket, coloring the tunes beautifully.”

Sean Westergaard, All Music Guide (review of Greg Wall’s Later Prophets)

“The most exciting aspect of this album is, of course, Alexander’s drumming. It’s not just the rhythms that change expertly from style to style within an instant; it’s the sound of those sticks beating down, forcing you to acknowledge the powerful place they hold in this music.”

Kyra Folk-Farber, Jewish Western Bulletin (Vancouver B.C.) (review of Midrash Mish Mosh)

“These [musicians]… have earned an easy, organic level of empathy, with Alexander’s always intriguing drum lines integrated into the whole in a way other jazz ensembles should strive for.”

Paul DeBarros, The Seattle Times

“The timekeeping demand on Alexander is fierce, but he’s all guns, rimshots firing into space and cymbals crashing against Krauss’ accents on the melody.”
Thom Jurek, All Music Guide

“As expected the drum work is excellent…”
D. Oscar Groomes, O’s Place Jazz Newsletter

“The Enja release is a fine exhibition of her enduring concerns for the big-band, and here she has attracted the most stellar company yet, driven by powerful drummer Aaron Alexander.  The interest in her music comes less from melody than a restless diversity of textures and tempos, with thunderous rock beats emerging from instrumental cacophony, and grooves broken up by free passages.”
Andy Hamilton, The Wire (review of Satoko Fujii Orchestra, “The Future of the Past”)