The Greatest Saxophone Duo of Our Time – Eric Alexander and Vincent Herring

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A Musical Brotherhood Spanning Decades

Eric Alexander and Vincent Herring have been performing together for more than 20 years. While each is a force in his own right, it’s their work together that creates a uniquely powerful musical chemistry. Their latest album, Split Decision, captures this synergy in a live setting at Smoke Jazz Club in New York.

The title, Split Decision, might remind you of boxing, and that’s the point. As Eric joked, it’s meant to be a draw. “Go ahead and pick your favorite and buy a ticket,” he says. But while the title might hint at rivalry, the album is anything but competitive in spirit. Instead, it’s a deep and respectful musical dialogue between two saxophonists who know each other inside and out.

While touring in Japan, they took time to speak with Jay Metcalf about the album and their longstanding musical relationship. Playing night after night together has forged an almost telepathic connection between them. “We’re mirrors to each other,” Eric said. “Our sounds are blending, our pitch is better every day, and we’re playing faster and faster, it feels easier and easier.”

Their tours are intense, often lasting a month or more, and while the travel can be exhausting, the playing never gets old. “The hardest part of touring isn’t the music,” says Eric. “It’s the van rides, the hotel check-ins, the jet lag. But the playing is a joy.”

When asked how they keep things fresh each night, Vincent explained that while they pull from a pool of 25 or so tunes, the selection varies every show. There’s no rigid setlist. Instead, they make decisions based on the moment and the audience in front of them. It’s a balance between structure and spontaneity that keeps the experience alive, for both the musicians and the listeners.

Why They Prefer Recording Live

Unlike many modern jazz recordings that rely on multi-track sessions and studio edits, Split Decision was recorded live using minimal gear, often just a single microphone. That approach brings out the raw energy and authenticity of the performance.

“In the studio, you can fuss around, overdub, autotune, clean things up,” Eric said. “But live? It’s life or death. One mic. Warts and all. That’s what jazz is.”

Vincent agrees. “A studio album lets you polish and redo things. But live recordings capture the truth of the moment. It’s honest, unfiltered, and real.”

The pair also emphasized that despite modern recording technology offering limitless tweaks and enhancements, there’s something irreplaceable about the simplicity and imperfection of live performance.

The tracks on Split Decision were selected from several nights of live sets. As Vincent explained, part of the challenge was working within the time constraints of an LP. “We had to make some hard choices, some songs were too long, or we needed a track to balance the sides,” he said.

Eric credits Vincent with shaping the final track list. “He came in at the eleventh hour and suggested changes that really improved the album. I’m lucky to have him by my side.”

The conversation also took a philosophical turn, touching on the rise of AI-generated music. Jay asked for their take, and Eric’s response was clear: “Even AI knows it’s better to hear human beings playing, warts and all.”

While they acknowledge that AI-generated music is improving, especially in popular genres, both Eric and Vincent believe that the visceral human element in jazz, its soul, can’t be replicated by a machine.

“There’s always going to be a place for real musicians doing real things,” Eric said. “People want to feel something. That comes from human expression, not code.”

The Joy of Playing Together

What’s kept them playing together for decades? Mutual respect, admiration, and fun. “I’m a fan of Eric’s,” Vincent said. “I enjoy hearing him play, and I like him as a person. That makes it fun.”

Eric echoed the sentiment. “When he plays at his best, it makes me so happy. I want him to kick my ass, it makes me play better. It’s competition without animosity.”

That kind of chemistry is rare. And when it happens, audiences feel it.

Gear Talk

No saxophonist conversation would be complete without a little gear talk. Vincent shared that after years of switching between Selmers, Yanagisawas, and other horns, he’s now fully committed to his Yamaha, and loving it. “I’m really in tune with my horn right now,” he said.

But for both artists, the reed and mouthpiece combo is where the magic really happens. “You can play all kinds of horns,” Vincent explained, “but it’s the reed and mouthpiece that define your sound.”

Eric kept it simple: “I don’t care about gear. Give me a good reed, a good mouthpiece, and I’m good.”

Vincent also shared a long-held practice habit, using a tone-developing mute at home. “It’s like running in water. It helps my projection and sound. When I do use a great reed, the combination is magic.”

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