Bobby Watson Albums (24)
What The Critics Say
Bobby Watson credits Art Blakey with showing him the ropes through the apprentice system, which included recruiting up-and-coming musicians, giving them advice, plus encouraging the younger players to write charts and originals for the band. Watson's Live & Learn band is such a format, a successor to his earlier on-again, off-again Horizon, with one former member back in the fold in bassist Curtis Lundy. The alto saxophonist has changed the format slightly, expanding his quintet to add vibes, played ably by Warren Wolf, with pianist Harold O'Neal, trumpeter Leron Thomas, and drummer Quincy Davis all showing promising signs of players who are likely to make lasting impressions on the jazz scene. Watson contributed six originals, including the hip, tasty riff tune "Wilkes BBQ," the perky "Deep Pockets," and the humorous Latin-flavored post-bop "Aye Caramba." O'Neal contributed the richly textured ballad "Purple Flowers" and the intricate "Timeless," while Wolf penned the lush "For Milt" (which is likely for the late vibraphonist Milt Jackson). Thomas' "Marcus Vein" provides an intense cooker to wrap this outstanding session. ~ Ken Dryden, All Music Guide
'Horizon Reassembled'
Release Date 6/29/2004
Tracks 11
Label Palmetto
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What The Critics Say
For his second Palmetto Records release, saxophonist Bobby Watson reassembles his 1990 hard bop quintet known as Horizon. On Horizon Reassembled the quintet that fans referred to as "the happy band" revisit their commitment to the music and to themselves on such great songs as "Pere,""Xangongo,""Eeeyyess," and "Horizon Reassembled." The set opens with "Lemoncello," a hard bop gem that allows each soloist lots of room to express their ideas and themes. On "Pere," pianist Edward Simon sets up a tapestry of sound on his original contribution, by rolling his chords rhythmically instead of using the typical punctuated style of comping. He also offers one of the best solos on the set through his blazing piano talk on the title track. Bassist Essiet Essiet brings his African roots to "Xangongo." His exciting world music basslines provide a solid foundation for the fast-paced horn and piano solos. Bobby Watson's alto saxophone playing is more mature and extremely expressive. He pays more attention to subtlety and dynamics than with previous incarnations of Horizon. His intense phrasings on "Eeeyyess" and "Ginger Bread Boy" provide the perfect foil for Terell Stafford's clarion top notes. Drummer Victor Lewis is also in great form with his great cymbal choices. Overall, Horizon Reassembled is entertaining and packed with great jazz moments. However, this reunion offers more significant concepts and improvisations than on their previous releases. ~ Paula Edelstein, All Music Guide
What The Critics Say
Live & Learn, Bobby Watson's Palmetto debut, is an engaging quintet disc featuring Orrin Evans on piano, Greg Skaff on guitar, old friend Curtis Lundy on bass, and up and comer Montez Coleman on drums. It's a high-spirited record, melding hard bop ("River Jordan," Pamela Watson's "Stanky P," Dawn Warren's "Why Not") with more soul-tinged sounds ("We Fall Down," "Live & Learn"). Skaff's guitar gives the session much of that contemporary bite. The instrument isn't terribly common in mainstream small-group settings, but Watson, to his credit, uses it to set his music apart in a variety of ways. He duets with Skaff on the mournful "Postlude"; Skaff then switches to acoustic for the effective WTC tribute "Landmarks Lost." On the traditional "Thank You," by contrast, Watson blows freely over a hot swing vamp, backed only by Lundy and Coleman. ("Give me what I need!" he tells the rhythm section at the start of the take.) To wrap up, Watson turns up the heat in 12/8 on the Sammy Davis, Jr. vehicle "I've Gotta Be Me." Passionate and accessible, Watson's music deserves wider recognition, and Palmetto's stature as a strong jazz indie can only help. ~ David R. Adler, All Music Guide
'Old Friends-New Point'
Release Date 4/30/2002
Tracks 12
Label City Light
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'Perpetual Groove: Live in Europe'
Release Date 1/1/2002
Tracks 5
Label Red
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What The Critics Say
This pair of 1983 concerts is one of Bobby Watson's earliest dates as a leader and his first of several recordings for Red; joining him is an all-Italian rhythm section consisting of pianist Piero Bassini, bassist Attilo Zanchi, and drummer Giampiero Prina. Although this alum of Art Blakey's Jazz Messengers learned a lot during his tenure with the drummer, this live LP finds him still in the process of finding his own sound. Watson seems intent on leaving no note unplayed on a up-tempo run through the old warhorse "Cherokee"; there's no questioning his intensity, but his playing is below the level of the decade which followed. He switches to soprano sax for another fast number, John Coltrane's "Mr. P.C.," though he quickly ducks out to feature his pianist's fine solo first; Watson's solo is a little thin. "Perpetual Groove" is an unaccompanied feature for alto sax that will likely be of interest more to students of the instrument for its technique (which includes circular breathing), for the composition itself doesn't stand up to repeated hearings, as it sounds more like an exercise. The purposely off-key introduction to Sonny Rollins' "Oleo" is a bit of a surprise at first, but the repetitious figures which follow ruin the effect of it somewhat. The quartet signs off with a brief encore of Dizzy Gillespie's "Blue'n Boogie." The trio, who are also known as "Open Form Trio", are very supportive of Watson and would go on to record two additional (and much stronger) dates with him for Red in 1985. The sound on this concert recording is a little below the label's normally high standards, as it is a bit muddy in places. Not yet reissued on CD, this disc will be of interest primarily to devoted fans of Bobby Watson. ~ Ken Dryden, All Music Guide
What The Critics Say
The concept was to "recreate" Bobby Watson's American jazz conglomeration, the Tailor Made Big Band of the early 1990s, with a Japanese version. Recorded live at the Japanese club Someday with the Tokyo Leader's Big Band, the six compositions and arrangements by Watson are alive with vibrant explosion. The alto saxophonist is at the top of his form, and the band sounds totally inspired. Although it is impossible to know who is soloing (other than Watson), there are particularly strong efforts from an unidentified trumpeter and trombonist. The band swings hard, and the compositions are tightly arranged, permitting the soloists of the band to strut their stuff. There is unmitigated electricity where Watson interjects sections of collective improvisation. This is the sort of mainstream jazz date that encourages spontaneity and challenge, while never reverting to worn cliché. It is a model for big jazz bands at the turn of the century, and a fine introduction to the work of Watson, who has often been documented on the Red Records label from Italy. ~ Steven Loewy, All Music Guide
What The Critics Say
Watson has progressed considerably since his days as a member of the Jazz Messengers, and some his finest work can be heard on the Italian label, Red Records. This one is a bit of a change of pace, as Watson wails above lush and soft landscapes, most of which were written by the saxophonist. Watson has developed a beautiful, full sound and a fluid style. The temperature picks up a bit when trumpeter Terell Stafford sits in for a few numbers. Curtis Lundy is a pleasure on bass, where he gently lays down plush lines, and pianist Orrin Evans complements them both. Watson's superb command of his horn raises this CD to more than a simple and sensuous sax session. Notes flow from the horn like bubbles from a blower. This recording should appeal to the crossover crowd and receive some deserved airplay. ~ Steve Loewy, All Music Guide
What The Critics Say
This interesting live CD, which includes some rather frivolous but harmless on-stage dialogue, features Bobby Watson's group Horizon. The quintet (comprised of altoist Watson, trumpeter Terell Stafford, pianist Edward Simon, bassist Essiet Essiet and drummer Victor Lewis) was one of the finest hard bop units of the time and one of the few that played together with the same personnel on a regular basis. Highlights of their spirited set include the joyous "Blues of Hope," "Complex Dialogue," "Midwest Shuffle" and "Mable Is Able." ~ Scott Yanow, All Music Guide
