Ernie Watts Albums (19)
What The Critics Say
This Qwest project was a typical crossover project for Ernie Watts, who recorded a series of commercial sets for Elektra and Qwest. The rhythms are danceable; Watts displays attractive tones on tenor, alto, and soprano; the supporting cast includes top L.A. studio musicians; Don Grusin contributes keyboards and electronic rhythms; among the many vocalists are Larry Williams and Phil Perry; and guitarist Lee Ritenour pops up on a few numbers. ~ Scott Yanow, All Music Guide
What The Critics Say
Saxophonist Ernie Watts is best known for his work in the 1980s and '90s with Charlie Haden in Quartet West, and as a leader of some very distinctive dates where his big-boned sound finds its lineage in John Coltrane. Before this creative period as a leader, however, Watts had played in ensembles led by the great Gerald Wilson, Oliver Nelson, Buddy Rich, with Jean-Luc Ponty, and as a member of the Tonight Show Band. He also played dates as a sideman with Stanley Clarke and Lee Ritenour. In other words, Watts is one of the more diverse players on the scene. The Wonder Bag, recorded under his own name -- actually, as the Ernie Watts Encounter -- in 1972 is his first date as a leader. The band that includes such soul-jazz and jazz-funk luminaries as Crusaders' pianist Joe Sample, guitarist David T. Walker, and drummer Paul Humphrey also includes congeuro Francisco Aguabella and bassist Bob West, and features guests like Chuck Findley and George Bohannon and a couple of others on the track "Sweetening," who form an extended horn section. This Ernie Watts is a very different player than would emerge in later years, yet not only are all the roots here, but The Wonder Bag is an overlooked soul-jazz classic. Watts is using his harsher-edged tone, but the music is seamlessly groovy, warm, and wonderful. Sample plays Rhodes as much as he does acoustic piano; Walker offers proof as to why he was in such demand during the era (Phil Upchurch was his only peer). This stellar program concentrates all of its efforts on the subject of its title: the music of Stevie Wonder. Whether it's the finger-popping celebratory funkiness in "Nothing's Too Good for My Baby," the lithe, airy "My Cherie Amour" (Watts' flute here is deeply moving and lyrical), the stomping dancefloor strut of "I Was Made to Love Her," (featuring a burning Coltrane-inspired solo, some great breaks, and early L.A. reggae) the backbone slipping, expressively romantic, "Never Had a Dream Come True," or the wildly lyrical deep soul essence of "Ain't No Lovin" -- where Watts brings out the deep jazz at the heart of Wonder's melody -- this set is a kind of feel-good revelation. Richard Bock's production is less polished than Creed Taylor's, Bob James', or Don Sebesky's, but it is expansive and wonderfully groovy. The arrangements are there to serve the tune, not showcase the band. Watts' solos and his interaction with Sample and Walker are inventive, tasty, and worth their weight in gold. The Wonder Bag is all killer, no filler, and should be picked up by anyone who is a fan of early-'70s soul and jazz-funk and groove, as well as anyone who has ever liked Watts' tone. Highly recommended. ~ Thom Jurek, All Music Guide
What The Critics Say
Ernie Watts clearly intends To the Point, the fourth release by his quartet on his own Flying Dolphin label (following Alive, Spirit Song, and Analog Man), to be a statement of purpose, as he explains in an introductory comment that gets its own track listing, "Intro/Music Statement." Setting up the album's title tune, Watts notes that he has gotten in his career "to the point" that he no longer is trying to emulate his influences, whom he names as Charlie Parker, John Coltrane, and Thelonious Monk, but now must be his own man. It's an appropriate expression from a musician who was 61 years old when he made it, at the Jazz Bakery in Los Angeles, CA, in August 2007, as his shows were recorded for this album. But it also serves as a sort of advance disclaimer for what turns out to be the most Coltrane-like performance of the set. "To the Point" is an uptempo number that gives Watts the opportunity to unleash some of his most soaring solo work, playing that is very much in the Coltrane mold. It is the longest of seven long pieces that, whether ballads like "Season of Change" or blues tunes like "Road Shoes," give his sidemen, pianist David Witham, bassist Bruce Lett, and drummer Bob Leatherbarrow, plenty of time to solo too. Watts pays tribute to the late Michael Brecker, a contemporary to whom he was often compared, on "For Michael," which seems to evoke Charles Mingus' tribute to Lester Young, "Goodbye Pork Pie Hat," deliberately. Here, and elsewhere, he attempts to merge a contemporary sensibility and an individual performing style with an established tradition of which he feels a part, and he does so largely successfully. ~ William Ruhlmann, All Music Guide
What The Critics Say
For veteran California saxophonist Ernie Watts, here is another example of why he is one of the finest exponents of modern jazz going. This CD is one in a long line, pre-and-post his work with Charlie Haden's Quartet West, that identifies him as an individualist. Since his sound on tenor so closely mirrors Michael Brecker's, and they are peers, the question will always be -- who came first, and who influenced who? Clearly John Coltrane's muse is extant in both, and they have developed personal voices. Analog Man succeeds on different levels. François Moutin's "Clinton Parkview" is a fresh neo-bop piece with effortless, attractive rhythm changes. On soprano sax, of which Watts is an underrated giant, he displays flawless tone, technique, and unlimited sweetness on the modal "Paseando." The California band of Watts, not well known names nationally, acquit themselves well during the date, especially pianist Christof Saenger, who penned "Paseando." "Gee Baby," one of five Watts originals, shows a blues-jazz sensibility, the band swings hard on the Miles Davis/Victor Feldman hard bopper "Joshua," and he is masterful on the "My Special Angel" flavored ballad "Company." The first two tracks are really long, and may not have been the best lead-off numbers. The "Killer Joe" like easy swinging title track and Brecker-ish neo-bopper "Elements" could have been programmed later in the disc. It is a strong effort, not his best, but adds to the remarkable consistency Watts has enjoyed over his four decade career, and continues to maintain. This CD won the Independent Music Awards Best Jazz CD for 2007. ~ Michael G. Nastos, All Music Guide
What The Critics Say
For this quartet set with pianist Mulgrew Miller, bassist Charles Fambrough, and drummer Jack DeJohnette, Ernie Watts definitely came to play. Virtually all of his solos are high powered and even his ballad statements are filled with clusters of passionate notes. Trumpeter Arturo Sandval has two appearances and makes the music even more hyper. In addition, the rhythm section keeps the proceedings consistently stimulating. The main focus on these standards and originals is generally on Watts' tenor, and even though there isn't all that much variety, this CD is a strong example of his jazz talents. ~ Scott Yanow, All Music Guide
