Ernie Watts Unity (1994) [xrcd Mastering 1996]

Ernie Watts has been quietly playing the part of an influential saxman for over 20 years. His expressive solos have graced the recordings of countless greats in nearly every genre of music. "Music is a language," says Watts, "and with language there are all these dialects - Rock, Classical, Jazz, Be-Bop and R&B among others. As for me, I'm interested in speaking all those dialects." On The Long Road Home, Watts returns to his favorite dialect…jazz. The results are simply glorious. Joining Watts on this blues tinged release are Kenny Barron on piano, Reggie Workman on acoustic bass, Mark Whitfield on electric guitar and Carmen Lundy, who performs two vocal numbers.

The most unusual aspect to this Ernie Watts recording is that the great tenor is joined by a two-bass quartet. Eddie Gomez on acoustic and Steve Swallow on electric blend together quite well, are featured in a delightful version of Oscar Pettiford's "Tricotism" and (with pianist Geri Allen and drummer Jack DeJohnette) keep the accompaniment consistently stimulating. Ernie Watts is in top form throughout this fine modern mainstream date, playing with both passion and lyricism on a variety of standards and originals (which, in addition to four songs from the leader, include one apiece from DeJohnette and Swallow). There is just enough variety to keep the proceedings from ever getting predictable, making this one of Watts' finest sessions.

Inexplicably, Ernie Watts thought it a good idea to record an album dedicated to the movie Chariots of Fire, while having very little to do with the overall plot of the film. The opening number is indeed the theme to Chariots of Fire, but sped up to be danceable. The result is what disco connoisseur Morgan Geist might deem to be an "unclassic" - really bad but in a very laughable way (it also could double as the fine theme to an afternoon syndicated talk show). James Ingram also makes an appearance on the smooth rocker "Hold On," and there's a ridiculous cover of the Lionel Richie/Kenny Rogers hit "Lady" and one of Donny Hathaway's "Valdez in the Country," which would be appropriate music bedding for your local cable weather forecast. The album is finally put out of its misery with a "slower" and more reggae-based interpretation of "Chariots of Fire" that is just as amusing as the album's opener, if not more so…

Saxophonist Ernie Watts has sounded equally able and comfortable playing with Cannonball Adderley, the Rolling Stones and the Tonight Show Band. In recent years, Brazilian singer, guitarist and composer Gilberto Gil has brought to bear his knowledge of jazz and Anglo pop and rock to explore Afro-Brazilian music and the cultural legacies of African diaspora. The collaboration doesn't work however. The opening cut, "The Green Giant," is symbolic. Gil talks somberly about Brazil and its troubles over a menacing vamp, but the piece goes on aimlessly until it simply peters out, turning Gil's anger into revolutionary chic. "You are my Thrill," once sang by Billie Holiday, is reprised as sleek R&B, Adult Contemporary radio friendly.

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 (who were used to sounding anonymous and playing funk clichés); 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.

Originally released on the RealTime label as a double LP, this CD (which contains 11 of the 14 selections) is quite notable for containing some brilliant playing by Ernie Watts (during a period when his own recordings were very commercial). Chick Corea (sticking to acoustic piano) is also in excellent form as are bassist Andy Simpkins and drummer John Dentz (who was the actual leader). Although a few of the shorter numbers have their free moments, the highpoints are "My One and Only Love," "Night and Day," "Invitation," "Blues for John C.," "Bud Powell" and "Oleo," intense straightahead explorations that allow Watts and Corea opportunities to stretch out.