The Tonight Show Band With Doc Severinsen - The Tonight Show Band, Vol. II

Styles: Jazz, Big Band
Year: 1978
File: MP3@320K/s
Time: 42:20
Size: 99,4 MB
Art: Front

(3:35) 1. In the Mood
(4:09) 2. The Jersey Bounce
(4:01) 3. Georgia on My Mind
(2:58) 4. The World Is Waiting for Sunrise
(2:37) 5. Airmail Special
(3:33) 6. April in Paris
(5:23) 7. Stardust
(3:09) 8. Take the "A" Train
(2:48) 9. Do Nothing 'Till You Hear from Me
(2:39) 10. Serenade in Blue
(3:38) 11. Hamp's Boogie Woogie
(3:43) 12. Jumpin' at the Woodside

The second of two long-overdue recordings by the Tonight Show Band has its moments, but its reliance on swing-era warhorses and the generally predictable arrangements (Bill Holman's reworkings of "The World Is Waiting for the Sunrise," "Take the 'A' Train," and "Serenade in Blue" are exceptions) are disappointments.

However, there is some excellent solo space for trumpeters Doc Severinsen, Snooky Young, and Conte Candoli; tenors Pete Christlieb and Ernie Watts; and pianist Ross Tompkins. Since this legendary big band recorded so little (just three albums for Amherst), all are worth picking up. By Scott Yanow
https://www.allmusic.com/album/the-tonight-show-band-vol-2-mw0000188827

Personnel: Trumpet, Flugelhorn, Conductor – Doc Severinsen; Alto Saxophone [Lead], Flute, Clarinet – Tommy Newsom; Alto Saxophone, Flute, Clarinet – Bill Perkins, John Bambridge; Baritone Saxophone, Soprano Saxophone, Flute, Clarinet – Don Ashwort; Bass – Joel DiBartolo; Bass Trombone – Ernie Tack; Drums – Ed Shaughnessy; Guitar – Bob Bain, Peter Woodford; Piano – Ross Tompkins; Tenor Saxophone, Flute, Clarinet – Ernie Watts, Pete Christlie; Trombone – Bruce Paulson; Trombone [Lead] – Gil Falco; Trumpet [Lead], Flugelhorn – John Audin; Trumpet, Flugelhorn – Allen Vizzutti, Conte Candoli, Maurey Harris, Snooky Young

The Tonight Show Band, Vol. II

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Oscar Castro-Neves - Brazilian Scandals

Styles: Latin
Year: 1987
File: MP3@320K/s
Time: 45:14
Size: 127,8 MB
Art: Front

(4:32)  1. Brazilian Scandals
(4:42)  2. Pensando
(4:04)  3. Romancing Lorry
(3:51)  4. Sugarloaf Skyride
(2:49)  5. Cafe Copacabana
(4:44)  6. Return to Rio
(3:46)  7. Your Eyes
(3:05)  8. Carioca Rap
(4:31)  9. Ocean Drive
(4:32) 10. Tropical Dream
(4:35) 11. Ipanema Afternoon

Oscar Castro-Neves is a fine Brazilian guitarist who is equally talented in organizing projects. Unfortunately this particular set is quite commercial, rather weak in spots, and thoroughly forgettable. The main liability is the material, the arrangements, and the use of five vocalists. Despite a few decent solos (including from Ernie Watts on alto), this set of Brazilian-flavored pop is a misfire. ~ Scott Yanow  http://www.allmusic.com/album/brazilian-scandals-mw0000652235

Personnel : Oscar Castro-Neves (synthesizer, acoustic guitar, percussion, background vocals); Gary Herbig (soprano & tenor saxophones); Ernie Watts (alto saxophone); Glen Garret (tenor saxophone, flute, piccolo); Malta (alto saxophone); Jerry Hey, Chuck Findley (trumpet, flugelhorn); Bill Reichenbach (trombone, bass trombone, valve trombone); Phillip Ayling (flute, piccolo, oboe); Gilson Peranzzetta (piano); Mitch Holder (electric guitar); Luizao Maia (electric bass); Teo Lima (drums); Paulinho Da Costa (percussion); Sonia Ferreira, Cyva Leite, Pedro Paulo Castro-Neves, Myriam Peracchi (background vocals).

Brazilian Scandals

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Lee Ritenour - The Captain's Journey

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 38:37
Size: 89,3 MB
Art: Front

(8:02)  1. The Captain's Journey
(5:53)  2. Morning Glory
(5:05)  3. Sugarloaf Express
(4:53)  4. Matchmakers
(5:27)  5. What Do You Want
(5:24)  6. That's Enough For Me
(3:49)  7. Etude

Guitarist Lee Ritenour had just switched from Epic to Elektra when he cut Captain's Journey in 1978. It was a followup to the successful crossover work Captain Fingers and used a similar strategy: tight, hook-laden arrangements, polished production, and minimal solo space. What individual things it has are dominated by Ritenour, a supremely talented guitarist who doesn't display that much of it with these arrangements. ~ Ron Wynn https://www.allmusic.com/album/the-captains-journey-mw0000120708

Personnel: Lee Ritenour – guitar, guitar synthesizer, rhythm arrangement; Dave Grusin – synthesizer , Minimoog, Rhodes piano , electric grand piano, piano; Ernie Watts – tenor and soprano saxophone; Ray Beckstein – flute, Eddie Daniels – flute Dave Valentin – flute David Foster – Rhodes piano, piano; Don Grusin – piano; Patrice Rushen – Rhodes piano , electric grand piano; Ian Underwood – synthesizer; Jay Graydon – guitar; Mitch Holder – guitar; Anthony Jackson – bass guitar Abraham Laboriel – bass guitar; Steve Gadd – drums; Alex Acuña – drums, percussion; Paulinho da Costa – percussion; Sue Evans – percussion; Steve Forman – percussion; Larry Rosen – percussion; Steve Thornton – percussion Patti Austin – vocals; Bill Champlin – vocals, vocal arrangement; Venette Gloud – backing vocal; Carmen Twillie – backing vocals; David Nadien – strings; Ed Walsh – programming

The Captain's Journey

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Ernie Watts & Chick Corea - 4Tune

Styles: Saxophone And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 66:52
Size: 153,6 MB
Art: Front

(9:27) 1. Swing Dentz Swing
(5:57) 2. My One And Only Love
(2:52) 3. Boom Bap
(7:00) 4. Miyako
(7:19) 5. Night And Day
(6:53) 6. Invitation
(6:39) 7. Blues For John C
(7:38) 8. Bud Powell
(3:57) 9. Sifu
(2:31) 10. Andy Meets Chick
(6:35) 11. Oleo

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. ~Scott Yanow https://www.allmusic.com/album/release/four-tune-mr0000093637

Personnel: Tenor Saxophone, Alto Saxophone – Ernie Watts; Piano – Chick Corea; Acoustic Bass – Andrew Simpkins; Drums – John Dentz

4Tune

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Willie Bobo - Tomorrow Is Here

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 35:13
Size: 81,5 MB
Art: Front

(3:51)  1. Suitcase Full Of Dreams
(3:18)  2. Funk De Mambo
(4:29)  3. Keep On Walking
(5:11)  4. Dreamin'
(3:01)  5. Wacky Tobacky (The Race)
(3:31)  6. Can't Stay Down Too Long
(3:18)  7. Time After Time
(3:36)  8. Kojak Theme
(4:54)  9. A Little Tear

Willie Bobo's only LP for Blue Note came at a point well past the label's heyday, when crossover was its primary focus. Hence Tomorrow Is Here has a pronounced '70s R&B/funk feel, with synthesizers, envelope followers, electric pianos, guitars and occasional strings interwoven with Bobo's steady Latin congas, timbales and self-effacing vocals. But there are a few gems to be found here one in particular. The leadoff track "Suitcase Full Of Dreams" is a great, haunting, Latin-accented song about a journeyman musician's life on the road that should have become a standard but is now almost completely forgotten. Karma's Reggie Andrews sits in on keyboards to give the record its contemporary sound; the other participants are L.A. sessionmen. Bobo's engaging personality, the injected Latin element, and "Suitcase" are what makes this otherwise dated record come alive.

Personnel: Willie Bobo - vocals, percussion; Gary Grant, Ron King, Nolan Smith - trumpet; George Bohanon, Thurman Green - trombone; Ray Pizzi, Ernie Watts - saxophone; Gary Herbig - reeds; Reggie Andrews, Larry Farrow, David Garfield - keyboards; Dennis Budimir, John Cadrecha, Craig McMullen, Sidney Muldrow, Curtis Robertson Jr. - guitar; Dean Cortez, Jim Hughart, David Troncoso - bass; Gary Denton, James Gadson, Jeff Porcaro, Carlos Vega - drums; Victor Pantoja - percussion; Sandi Erwin, Benard Ighner - vocals

Tomorrow Is Here

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Brian Bromberg - A New Day

Styles: Jazz, Post Bop
Year: 1986
File: MP3@320K/s
Time: 47:11
Size: 108,2 MB
Art: Front

(4:35)  1. Summertime
(6:23)  2. Sunrise
(7:09)  3. Take A Walk In The Park With Me
(5:25)  4. Shana
(6:02)  5. Mushy Tushy
(5:08)  6. It's A New Day
(6:03)  7. My Funny Valentine
(6:24)  8. Oriental Ho-Down

Bassist Brian Bromberg's debut as a leader finds him alternating between acoustic and electric and welcoming such guests as tenorman Ernie Watts, Joe Farrell (on his final recording date) and, during "Take a Walk in the Park With Me," flugelhornist Freddie Hubbard. This diverse LP (which has not yet been reissued on CD) ranges from fairly straight-ahead to some funk and fusion; Bromberg performs six originals, plus "Summertime" and "My Funny Valentine." An enjoyable set, although not essential. 

~ Scott Yanow https://www.allmusic.com/album/new-day-mw0000947779

Personnel: Brian Bromberg - keyboards, fretless bass, producer, executive producer; Ernie Watts - tenor saxophone; Greg Armstrong - soprano saxophone; Joe Farrell - flute; Freddie Hubbard - trumpet; Arthur Statman - keyboards;  Kei Akagi - keyboards; Guy Moon - keyboards; Carl Cherry - drums; Alex Acuña - percussion, drums.

A New Day

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Herb Alpert - Beyond

Styles: Vocal, Trumpet Jazz
Year: 1980
File: MP3@320K/s
Time: 40:24
Size: 93,7 MB
Art: Front

(5:14)  1. Kamali
(3:00)  2. The Continental
(4:49)  3. Reach For The Stars
(3:27)  4. Interlude (For Erica)
(3:38)  5. Red Hot
(6:01)  6. Beyond
(4:25)  7. That's The Way Of The World
(4:03)  8. Keep It Goin'
(5:43)  9. The Factory

Naturally, the wild success of "Rise" would lead anyone to the temptation of repeating oneself, and at first, this follow-up LP does plenty of that, grafting the same slow, hand-clapping beat onto several numbers. But Alpert won't sit still for long, and he comes through with some startling things that wake up the record midway through. The funky, percolating party beat of "Red Hot" starts the engine, which is pushed to an electrifying degree by the sequencer-driven, Echoplexed, hard-charging title track, where we hear Alpert's distinctive horn through a metallic electronic buffer. The most amazing track is the finale, "The Factory," a terrifying, relentlessly grinding depiction of a soulless foundry that must have shocked sedate former TJB fans who bought this album on a lark, expecting happy music from the past. Bold stuff indeed, and it did make some impact on the charts, though not nearly to the degree of Rise. ~ Richard S.Ginell https://www.allmusic.com/album/beyond-mw0000854674

Personnel: Trumpet – Bob Findley , Herb Alpert; Vocals – Herb Alpert, Randy Badazz;  Flugelhorn – Herb Alpert ; Synthesizer – Herb Alpert ;  Bass – Abraham Laboriel, Robert Russell; Drums – Kevin Calhoun, Manolo Badrena, Steve Gadd, Steve Schaeffer; Guitar – Chris Pinnick , Dana Barry , Johnny Guitar Watson , Peter Frampton, Tim May, Tommy Tedesco; Keyboards – Andy Armer , Michael Boddicker, Mike Lang; Marimba – Julius Wechter; Percussion – Herb Alpert, Randy Badazz; Tenor Saxophone – Ernie Watts; Trombone – Bill Reichenbach 

Beyond

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Jean-Luc Ponty - King Kong

Styles: Violin Jazz
Year: 1993
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

( 4:55)  1. King Kong
( 4:03)  2. Idiot Bastard Son
( 5:36)  3. Twenty Small Cigars
( 7:17)  4. How Would You Like To Have A Head Like That
(19:25)  5. Music For Electric Violin And Low Budget Orchestra
( 2:42)  6. America Drinks And Goes Home

Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity not just the feel of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work). Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin. ~ Steve Huey https://www.allmusic.com/album/king-kong-jean-luc-ponty-plays-the-music-of-frank-zappa-mw0000099048

Personnel:  Jean-Luc Ponty – electric violin, baritone violectra; Frank Zappa – guitar; George Duke – piano, electric piano; Ernie Watts – alto and tenor sax;  Ian Underwood – tenor sax;  Buell Neidlinger – bass; Wilton Felder – Fender bass; Gene Estes – vibraphone, percussion;  John Guerin – drums;  Art Tripp – drums; Donald Christlieb – bassoon; Gene Cipriano – oboe, English horn; Vincent DeRosa – French horn, descant; Arthur Maebe – French horn, tuben; Jonathan Meyer – flute; Harold Bemko – cello; Milton Thomas – viola.

King Kong

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Bobby Hutcherson - Montara

Styles: Vibraphone Jazz 
Year: 1975
File: MP3@320K/s
Time: 35:39
Size: 82,1 MB
Art: Front

(5:35)  1. Camel Rise
(4:24)  2. Montara
(4:17)  3. (Se Acabo) La Malanga
(5:37)  4. Love Song
(3:54)  5. Little Angel
(6:42)  6. Yuyo
(5:08)  7. Oye Como Va

With the possible exception of Grover Washington's Feels So Good, no other album captured the spirit of jazz in 1975 like Bobby Hutcherson's Montara. Recorded in his hometown of L.A., Montara is the very sound of groove jazz coming out of fusion, and Latin jazz's tough salsa rhythms coming home to roost in something more warm and effluvial that would meet the populace where it was changing and mellowing out rather than making it sit up and take notice. That said, Montara is, like the Washington record, a masterpiece of the genre even though it isn't celebrated in the same way. Featuring a stellar cast of musicians among them Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico Montara is a portrait of Hutcherson's complex gift of subtlety and virtuosity. Whether it's the funky Weather Report dance of "Camel Rise," with Nash's electric piano and the horns weaving around one another in a soulful samba melody, the sweet soulful groove of the title track, where Hutcherson's solo lilts to the point of actually singing, the killer Cuban salsa of "La Malanga," done in complete minor-key frenzy (all the while without losing the easy, slippery grace of soul-jazz), the shimmering echoplexed electric piano and vibes interplay on "Love Song," or the steaming, burning gasoline orgy of Hutcherson's read of Santana's "Oye Como Va," with a killer flute line by Watts winding its way through a knotty bassline and multi-part percussion, the effect is the same: blissed-out moving and grooving for a summer day. Hutcherson's chameleon-like ability to shape-shift is truly remarkable as a sideman and especially as a leader. He never overplays, his charts are tight, and he always creates a band vibe. Almost all of his solo recordings reflect the strengths of the ensemble rather than his strengths as a soloist. Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation. ~ Thom Jurek https://www.allmusic.com/album/montara-mw0000036961

Personnel: Bobby Hutcherson - vibes, marimba; Oscar Brashear, Blue Mitchell - trumpet; Plas Johnson - flute; Ernie Watts, Fred Jackson, Jr. - tenor saxophone, flute; Eddie Cano - piano; Larry Nash - electric piano; Dennis Budimir - guitar; Chuck Domanico, Dave Troncoso - bass; Harvey Mason - drums

Montara

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Ernie Watts - To The Point

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 66:48
Size: 154,4 MB
Art: Front

( 8:32)  1. Hot House
( 9:08)  2. Season Of Change
( 0:49)  3. Introduction
( 9:52)  4. For Michael
( 1:42)  5. Introduction
(11:30)  6. To The Point
( 7:57)  7. Road Shoes
( 0:18)  8. Introduction
( 6:04)  9. Nightscape
(10:51) 10. Reaching Up

After hearing saxophonist Ernie Watts' CD To The Point - Live At The Jazz Bakey , it's easy to imagine that he possesses superhuman talents similar to those held by members of the fictional Fantastic Four. He breathes fire, can cool with ice, whip up a storm, and shape his sax sound in ways otherworldly. This is a powerful, yet sensitive, technically Herculean, yet human, complex yet elegantly beautiful player no, a marvel.  Soloing as an intro to the bop classic "Hot House," a complex line laid over Cole Porter's "What Is This Thing Called Love?," Watts tells you right up front that he taps into an energy and spirit that is universal and highly charged, while never allowing his awesome technique to saturate creativity. Dig the faster than light arpeggiated riffs that give the illusion of multiphonics. Awesome. For years, Watts was the first call for reeds in the Hollywood studios, and after a decades long stint with Doc Severinsen and Johnny Carson's Tonight Show orchestra, Watts has moved closer to the point as a solo performer and as a featured member of bassist Charlie Haden's group. Here he's backed by a trio of Hollywood's, and the world's, best pianist David Witham (for years musical director for guitarist George Benson), bassist Bob Lett (of trumpeter Jack Sheldon's Orchestra) and drummer Bob Leatherbarrow. This group has performed together for over 20 years and it shows. The energy level is never let up. Watts' sensitivity and emotional control are spectacular on his own composition, "Season Of Change." There is a uniqueness about his sound vocal, lyric at all speeds, clean, classical. He brings the listener into his sound and solo creations. With such a colossus at the helm, the crew steps up beautifully. Witham's solos on this selection and elsewhere are tasteful, Lett also vocalises his solos and Leatherbarrow's time and touch are pure grace. 

"For Michael," a Watts and Leatherbarrow original dedicated to the late saxophonist Michael Brecker, expresses colors over a triple-metered rhythmic layer. Like Brecker, Watts fears no area on the instrument's range and wrings out tones across the range of the horn. Picking up on Watts, Witham's solo flows expressively. In an interlude between selections, Watts modestly tells those lucky to be at the Jazz Bakery gig that the title tune is a culmination, a moment of truth, wherein a musician's entire investment of time in their instrument is put right on the line. It is truth incarnate. And the truth here is that Watts, although he humbly states "I cannot be John Coltrane," is not only at the top of his game, but the top of the game. He approaches the doorstep to the saxophone pantheon with giant steps. "Road Shoes," a Watts original blues, aptly demonstrates that the composer can get down to root business and blow appropriately funky with the best of them. Witham's tasteful comping, Bob Leatherbarrow's drive and fills, and able support from Bruce Lett energize. The beautiful Jon Mayer ballad "Nightscape" displays an almost Ellingtonian melodic line that Watts covers beautifully, lyrically and vocally. Watts knows his saxophone roots oh so well. You hear shades of the great alto saxophonist Johnny Hodges, as well as Coltrane in Watts' beautifully classic, seductive sound. David Witham's pulsing vamp sends off "Reaching Up." Watts takes the lead and indeed reaches up improvisationally. The energy level across this CD is fever pitch. Watts and crew are indeed a Fantastic Four. The level of musicianship, improvisational skill and interplay among teammates is supreme. The recording and balance is excellent for a live session, so kudos to producer Tim Pinch as well. To The Point is an outstanding effort. And, yes, Ernie, Michael Brecker would, you feel, be very proud. ~ Nicholas F.Mondello https://www.allaboutjazz.com/ernie-watts-to-the-point-live-at-the-jazz-bakery-by-nicholas-f-mondello.php

Personnel: Ernie Watts, saxophones: David witham, piano; Bruce Lett, bass: Bob Leatherbarrow, drums.

To The Point

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Ernie Watts - Analog Man

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 70:25
Size: 162,2 MB
Art: Front

(11:15)  1. Analog Man
(10:33)  2. Elements
( 6:45)  3. Paseando
( 6:59)  4. Clinton Parkview
( 5:37)  5. Company
(10:05)  6. Joshua
( 9:44)  7. A Lilac Grows
( 6:26)  8. Gee Baby
( 2:58)  9. Morning Prayer

The opening two-note piano riff, the crisp rim shots from the drums and the walking bass line on the opening number and title track get Analog Man off to the most swinging of starts. Saxophonist Ernie Watts introduces the melody and proceeds to craft a solo so full of invention, strength and lyricism that when he lays out to allow pianist Christof Saenger his turn the surprise is that only three minutes have passed.Watts' playing on "Analog Man is fluid and elegant and he raises the bar high for the musicians in his quartet. First pianist Saenger and then bassist Rudi Engel prove that they are up to the challenge of playing with one of jazz's premier saxophonists."Elements opens with drummer Heinrich Koebberling and Watts engaging in a highly charged duet, or rather duel, as the two seem to stoke each other's fire, recalling saxophonist John Coltrane and drummer Rashied Ali's sparring of forty years ago. Saenger maintains the tempo with a brief but lightning solo before the tune turns a corner and emerges into a short free-form, quasi-psychedelic passage with bowed bass, bird-like squawks from the saxophone and splashes of high register piano. Watts then steers the quartet into slightly more conventional territory but the tension never dips on the album's most ambitious track. Saenger's beautiful "Paseando sees Watts switch to soprano , and his gently soaring, snaking solo evokes the magic of Wayne Shorter, one of his primary influences. Saenger responds with a solo full of blues, space and teasing runs. 

There are three non-originals on Analog Man: French bassist Francois Moutin's "Clinton Parkview, Victor Feldman's classic "Joshua and, sandwiched between the two, Rickie Lee Jones' tender ballad, "Company. On "Joshua Watts plays some of his most inspired lines, a breathless, exciting and full-blooded tenor assault which sets the tone for his excellent quartet to follow. It is the Watts originals, however, which stand out. "A Lilac Grows shows that the saxophonist can pen a ballad as well as anybody, and the soulful, uplifting melody and elegant playing again recall Blue Note-era Shorter. The quartet turns to the blues on "Gee Baby, which bounces and shuffles along propelled by Engel's bass line. Watts serves up a typically robust, colorful solo before drums and piano enter and swing the tune all the way home. "Morning Prayer succeeds in capturing the essence of the sacred, that indefinable beauty particular to so much devotional music; Patricia Watts on Burmese temple bells sets off her husband's heartfelt unaccompanied improvisations. Analog Man is Watts' third quartet album on his own Flying Dolphin Records label and perhaps his strongest to date. Watts' writing and playing is better than ever. At least two tracks, the title track and "A Lilac Grows bear the hallmarks of instant classics, compositions which will inspire current and future generations of musicians, and there can surely be no higher compliment than that. ~ Ian Patterson https://www.allaboutjazz.com/analog-man-ernie-watts-flying-dolphin-records-review-by-ian-patterson.php

Personnel: Ernie Watts: saxophones; Christof Saenger: piano; Rudi Engel: bass; Heinrich Koebberling: drums; Patricia Watts: Burmese temple bells (9).

Analog Man

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Richard "Groove" Holmes - Workin' On A Groovy Thing

Styles: Jazz, Post Bop
Year: 1969
File: MP3@320K/s
Time: 35:58
Size: 85,9 MB
Art: Front

(4:15)  1. Isole Natale
(3:58)  2. Do You Know The Way To San Jose
(2:48)  3. Workin' On A Groovy Thing
(2:36)  4. Oklahoma Toad
(4:43)  5. High Blues Pressure
(4:07)  6. Listen Here
(3:32)  7. In And Out
(2:46)  8. Dreams Of The Everyday Housewife
(4:16)  9. Rhythm And Groove
(2:54) 10. I Can't Stop Dancing

Groove Holmes and Gerald Wilson  a wonderful combination on this late 60s session in a style that's everything great about mainstream LA jazz at the time! Wilson really has a way with the charts on the session and although the group is large, they've got a lean, clean sound that bounces along nicely slightly funky at times, always soulful at others a perfect backdrop for the well-played Hammond lines that Groove brings to the set! The album's not as much of an all-out organ wailer as some of Holmes' albums for Prestige but that's a-ok with us, because Wilson's group features some other great players too including Dennis Budimir on guitar, Tony Ortega and Arnie Watts on saxes, and Paul Humphrey on drums! Titles include "Dreams Of The Everyday Housewife", "High Blues Pressure", "Listen Here", "Oklahoma Toad", "Rhythm & Groove", "In & Out", and "Isole Natalie".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/4536/Richard-Groove-Holmes:Workin%27-On-A-Groovy-Thing
 

Personnel:   Richard "Groove" Holmes - organ;   Paul Humphrey - drums;  Ernie Watts - alto saxophone;  Anthony Ortega - alto saxophone;  Richard Aplanalp - baritone saxophone;  Frank Strong - trombone;  Thurman Green - trombone;  Mike Wimberly - bass trombone;  Jerome Rusch - trumpet;  Larry McGuire - trumpet;  Paul Hubinon - trumpet;  Herbert Anderson - trumpet;   William Peterson - trumpet;  Dennis Budimir - guitar;  Wilton Felder - bass

Workin' On A Groovy Thing

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Ernie Watts - Four Plus Four

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 59:45
Size: 137,2 MB
Art: Front

( 8:05)  1. Tributary
( 7:18)  2. Crossings
( 7:11)  3. A Quiet Corner
(11:36)  4. Through My Window
( 7:59)  5. Wings Of The Dreamer
( 8:05)  6. The Ballad Of The Sad Young Men
( 9:28)  7. Find The Way

It's nothing shy of amazing that now in his mid-sixties tenor saxophonist Ernie Watts just gets better and better. Like his California peers Charles Lloyd and Azar Lawrence, Watts keeps refining his post-John Coltrane approach with a passion and inventiveness younger musicians can only dream of. He also keeps coming up with new aspects of execution, here presenting his regular working quartet, a newly formed four-piece based in Cologne, Germany, and on one track, both ensembles combined. Save a single standard, this CD also features new material from Watts and his estimable bandmembers, sounding fresh and always either swinging or in a modal base. The greatest quality Watts possesses is ability to sing through his horn, evidenced perfectly during "Crossings," written by the pianist from his European band, Christof Saenger. Then there's the tenor man playing with an immediacy but no rushed sense of urgency for the clockwork pace of "Wings of the Dreamer," with American pianist and underrated stalwart David Witham, who plays beautifully understated piano that can easily be appreciated on its own merits. Both groups collaborate on the floating "Through My Window," evoking Coltrane's spirit similar to his great composition "Wise One," If you haven't become a fan of Ernie Watts yet, it's time to get on the bandwagon. His savvy, tasteful, fully flowered music stands apart from his contemporaries, previous masters, and those burgeoning players claiming Coltrane as a major influence. In short, he's the very best at what he does which in itself is a proven, time-tested commodity. Michael G.Nastos https://www.allmusic.com/album/four-plus-four-mw0002005090
 

Personnel:  Tenor Saxophone – Ernie Watts ;  Bass – Bruce Lett (tracks: 1-4), Rudi Engel (tracks: 4-7);  Drums – Bob Leatherbarrow (tracks: 1-4), Heinrich Köbberling (tracks: 4-7);  Piano – Christof Sänger (tracks: 4-7), David Witham (tracks: 1-4)

Four Plus Four

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Ernie Watts - Chariots of Fire

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 35:56
Size: 82,7 MB
Art: Front

(5:55)  1. Chariots of Fire (Theme) (Dance Version)
(4:25)  2. Hold On
(3:49)  3. Lady
(4:36)  4. Gigolo
(5:14)  5. Valdez in the Country
(3:46)  6. Abraham's Theme
(3:40)  7. Five Circles
(4:27)  8. Chariots of Fire (Theme) (Slow Version)

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. Proceed with caution. ~ Rob Theaskton https://www.allmusic.com/album/chariots-of-fire-mw0000206731

Personnel: Ernie Watts - Tenor Saxophone; Michael Omartian - Acoustic Piano; Richard Tee - Electric Piano; Carlos Rios - Guitar; Neil Stubbenhaus - Bass; John Robinson - Drums;  Paulinho Da Costa - Percussion;  Ian Underwood - Synthesizer

Chariots of Fire

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Herb Alpert - Blow Your Own Horn

Styles: Trumpet Jazz
Year: 1983
File: MP3@320K/s
Time: 42:14
Size: 100,5 MB
Art: Front

(4:46)  1. Red Hot
(4:06)  2. True Confessions
(3:47)  3. Blow Your Own Horn
(4:15)  4. Gently
(4:09)  5. The Midnight Tango
(5:16)  6. Garden Party
(4:19)  7. Paradise Cove
(4:12)  8. Latin Lady
(3:56)  9. Oriental Eyes
(3:23) 10. Sundown

This album is typical of Herb Alpert's '80s style, with his familiar horn sound grafted to contemporary dance and R&B rhythm tracks. He even got the old Motown team of Holland-Dozier-Holland to write and co-produce a couple of tunes. Although there is nothing here to rival Alpert's 1979 comeback "Rise," he had multi-format success with the album, which charted pop, R&B, and jazz and threw off two chart singles, "Garden Party" and "Red Hot." ~ William Ruhlmann https://www.allmusic.com/album/blow-your-own-horn-mw0000189061

Personnel:  Trumpet – Herb Alpert; Vocals – Herb Alpert (tracks: 1, 3, 6), Lamont Dozier (tracks: 3), Randy Badazz (tracks: 1, 5);  Trombone – Randy Aldcroft (tracks: 6);  Tenor Saxophone – Ernie Watts (tracks: 1, 6);  Acoustic Guitar – Tommy Tedesco (tracks: 1);  Bass – Abraham Laboriel (tracks: 1), Freddie Washington (tracks: 10), Nathan East (tracks: 2, 4, 6);  Bass [Moog] – Bill Cuomo (tracks: 6, 8 to 10);  Clavinet – Andy Armer (tracks: 5);  Drums – Carlos Vega (tracks: 6 to 8, 10), John Robinson (2) (tracks: 5), Steve Gadd (tracks: 1);  Drums [Linn] – Herb Alpert (tracks: 4);  Drums [Simmons] – John Gilston (tracks: 7), Mike Baird (tracks: 2);  Electric Guitar – Chris Pinnick (tracks: 1);  Guitar – Lee Ritenour (tracks: 7), Paul Jackson,Jr. (tracks: 2 to 4, 6), Steve Lukather (tracks: 9), Tim May (tracks: 5, 10);  Keyboards – Bill Cuomo (tracks: 4, 7 to 9), John Barnes (tracks: 2, 3), Neil Larsen (tracks: 6);  Piano – Andy Armer (tracks: 1), Michel Colombier (tracks: 10);  Piano [Acoustic] – Bill Cuomo (tracks: 8, 9), John Barnes (tracks: 2), Sergio Andrade (2) (tracks: 4);  Piano [Wurlitzer] – Mike Lang (tracks: 1)

Blow Your Own Horn

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Ernie Watts, Pete Christlieb, Rickey Woodard - The Tenor Trio

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 62:06
Size: 142,6 MB
Art: Front

(4:11)  1. Blues Up and Down
(7:23)  2. Strollin'
(5:42)  3. Groovin' High
(6:28)  4. Love for Sale
(4:04)  5. St. Thomas
(5:41)  6. Fried Bananas
(5:47)  7. Here's to Alvy
(6:06)  8. Holy Land
(5:52)  9. Moten Swing
(5:16) 10. Eternal Triangle
(5:30) 11. Little Pony

In his book Jazz For Beginners, Ron David says that nobody really loves jazz. "People love Miles or Dixieland or Free Jazz or Fusion or two, three or four of the above but nobody loves jazz. It's too varied." Truer words were never written. I like to think of myself as a lover of all kinds of jazz, but when it really comes down to it, I prefer swing, bop, fusion, and anything that smacks of the blues. Sure I relate to Miles, Coltrane and Ornette, but they appeal more to my brain than my viscerals. Basie, Blakey and Metheny hit me right in the gut. Since The Tenor Trio bops and swings simultaneously, here's one CD that really presses my buttons. The Tenor Trio consists of saxmen Ernie Watts, Pete Christlieb and Ricky Woodard. Once his cushy gig on the Tonight Show ended, Watts quickly became a respected mainstream player with a succession of fine albums. Christlieb is a lesser known but no less capable Tonight Show alum. Woodard has blown his sax for Ray Charles and the Clayton-Hamilton Orchestra. These three pros engage in some friendly but ferocious battles on this superbly arranged 10-track release. There are no originals here, but the saxmen put their collaborative stamp on some well-chosen chestnuts. The three saxophones blend beautifully, the solos are intensely competitive, and terrific backup is provided by pianist Gerry Wiggins, bassist Chuck Berghofer and drummer Frank Capp. Tunes include Horace Silver's "Strollin'," Sonny Rollins' "St. Thomas," Benny Moten's "Moten Swing," and Neil Hefti's "Little Pony." The Tenor Trio delivers graceful, joyous bop that's never dissonant. Mainstream jazz seldom sounds this catchy. ~ Ed Popp https://www.allaboutjazz.com/the-tenor-trio-watts-christlieb-and-woodard-jvc-review-by-ed-kopp.php

Personnel:  Tenor Saxophone – Ernie Watts, Pete Christlieb, Rickey Woodard;  Bass – Chuck Berghofer;  Drums – Frank Capp;  Piano – Gerry Wiggins

The Tenor Trio

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Brian Bromberg - It's About Time: The Acoustic Project

Bitrate: MP3@320K/s
Time: 57:48
Size: 132.3 MB
Styles: Bop, Fusion
Year: 1991
Art: Front

[4:58] 1. Dear John
[6:09] 2. Echoes
[4:58] 3. One For The Woofer
[5:50] 4. Waltz For Daphne
[7:12] 5. Yes Or No
[5:55] 6. If I Should Lose You
[7:47] 7. From Dust To Dessert
[5:40] 8. The Gnocchi
[9:15] 9. Buddha Belly

Drums – David Bromberg (2) (tracks: 1 to 7, 9); Piano – Mike Garson (tracks: 1 to 3, 6, 7, 9); Producer, Bass – Brian Bromberg; Saxophone – Ernie Watts (tracks: 2, 4, 5, 8, 9). Recorded live on May 21-22 1991 and mixed at: Garden Rake Studios Sherman Oaks CA.

After a few electric projects, bassist Brian Bromberg decided to record a purely acoustic project. With such sidemen as pianists Mike Garson and Mitch Forman, brother Dave Bromberg on drums, trumpeter Freddie Hubbard (on three songs), and tenors Ernie Watts (on five) and Doug Webb (on two), Bromberg holds his own with the fast company. Some of the selections on this CD are quite memorable, particularly Hubbard's "Dear John," Watts' interpretation of Wayne Shorter's "Yes or No," and the trumpeter's feature on "If I Should Lose You." Although the Nova label has since gone belly-up, this excellent CD might still be found and is certainly worth a search. ~Scott Yanow

It's About Time: The Acoustic Project mc
It's About Time: The Acoustic Project zippy

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Dan Siegel - Going Home

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 41:04
Size: 95,7 MB
Art: Front

(3:53)  1. Dee-Ah
(4:23)  2. Going Home
(3:32)  3. Next To You
(4:41)  4. Dark Rain
(4:53)  5. Don't Let Go
(4:04)  6. The Untraveled Path
(2:50)  7. Can't Remember
(4:36)  8. Sojourn
(4:20)  9. Searching
(3:48) 10. The Last Dance

Smooth jazz keyboardist Dan Siegel has been helping to shape the genre since his recording debut in 1980. Born in Seattle and raised in Eugene, OR, Siegel started taking piano lessons at age eight and was fronting a rock band at 12. After attending the Berklee College of Music in Boston, he received a degree in composition from the University of Oregon and began recording his own works. Soon thereafter, well-known independent jazz label Inner City Records signed the young keyboardist, releasing 1980's Nite Ride, which featured guitarist Lee Ritenour. Siegel's second album for Inner City, 1981's The Hot Spot, was more successful and spent ten weeks in the Top Ten of Billboard's jazz chart. In 1983, he moved to Los Angeles to pursue film and television work, as well as a more active recording career. Spending half of the decade composing TV and film scores as well as releasing several albums of varying interest, he signed with Epic in 1986 and began moving away from the ailing jazz fusion scene and into the adult contemporary jazz sound that he had been toying with all along. Highlights of this era include 1994's worldbeat-influenced Hemispheres and the urban-flavored Clairvoyance, released in 1998. Siegel spent the 1990s recording for a variety of labels, working with some of the bigger names in smooth jazz (Boney James, Larry Carlton, John Patitucci), and leading the hard bop combo Birds of a Feather. In 2000, Legacy Recordings released a greatest hits compilation called Along the Way: The Best of Dan Siegel. ~ Zac Johnson https://www.allmusic.com/artist/dan-siegel-mn0000566054/biography 

Kenny Rankin (Vocals); Michael Landau, Allen Hinds, Richard Smith, Grant Geissman (Guitar); Ernie Watts, Jeff Kashiwa, Everette Harp, Gary Herbig, Mark Hollingsworth (Saxophone); Abraham Laboriel, Jimmy Johnson, Ed Alton, Neil Stubenhaus, Dwayne Smith, Alec Milstein (Bass); Vinny Colaiuta, Bobby Colomby, Moyes Lucas Jr., Randy Drake, Dave Miller (Drums);  Luis Conte, Alex Acuña (Percussion); Dan Siegel (Keyboards, Vocals).

Going Home

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Lee Ritenour - Friendship

Styles: Guitar Jazz 
Year: 1978
File: MP3@320K/s
Time: 38:56
Size: 89,3 MB
Art: Front

(6:18)  1. Sea Dance
(6:46)  2. Crystal Morning
(7:03)  3. Samurai Night Fever
(6:23)  4. Life Is The Song We Sing
(6:03)  5. Woody Creek
(6:21)  6. It's A Natural Thing

The third of three Lee Ritenour sets originally cut for Japanese JVC and in 1991 reissued domestically on CD matches the studio guitarist with what could be called the "Crossover All-Stars": Ernie Watts (on tenor and soprano), both Dave and Don Grusin on keyboards, electric bassist Abraham Laboriel, drummer Steve Gadd and percussionist Steve Forman. They perform pleasant but somewhat forgettable originals by Rit, Watts and both Grusins, the kind of lightly funky background music that one would expect from expert studio players.~ Scott Yanow https://www.allmusic.com/album/friendship-mw0000093718

Personnel: Lee Ritenour (electric & acoustic guitars), Ernie Watts (soprano & tenor saxophones), Don Grusin (electric piano), Dave Grusin (electric & acoustic pianos), Abraham Laboriel (electric bass), Steve Gadd (drums), Steve Forman (percussion). 

Friendship

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Lee Ritenour - Captain Fingers

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 41:05
Size: 94,7 MB
Art: Front

(7:10)  1. Captain Fingers
(7:04)  2. Dolphin Dreams
(5:10)  3. Fly By Night
(5:10)  4. Margarita
(4:33)  5. Isn't She Lovely
(5:10)  6. Space Glide
(6:47)  7. Sun Song

Lee Ritenour was born January 11, 1952 in Los Angeles, California. He played his first session when he was 16 with The Mamas & The Papas. Nicknamed "Captain Fingers," he (along with Larry Carlton) was a sought-after session guitarist by the mid-70s. He is noted for playing his red Gibson ES-335 and his Gibson L5 guitars. One of his most notable influences is the pioneering jazz guitarist Wes Montgomery. In 1976, he released his first solo album, First Course. This was followed up by his famous fusion work Captain Fingers in 1976. Since First Course he has released over 30 albums - the 30th being Rit's House in 2002. One of his most notable works is his 1981 pop album Rit (featuring vocalist Eric Tagg), which contained the chart hits "Is It You," and "Mr. Briefcase." In the 90s, he was one of the founding members of smooth jazz group "Fourplay".

Throughout his career, Lee has not been afraid to experiment with different styles of music, often incorporating elements of funk, pop, rock, blues and Brazilian music with Jazz (much to the dislike of many critics). In the early 1980s, Lee was given his own Ibanez signature model guitar, the LR-10. The LR-10 was produced from 1981 to 1987. It can be heard exclusively on Rit. Currently, Lee plays the Gibsons that he first played in the 1970s (the ES-335 & L5), and now also plays his signature Lee Ritenour Model archtop guitar made by Gibson.

Personnel:  Lee Ritenour electric guitar, classical guitar, guitar synthesizer, associate producer, writer;  Dave Grusin keyboards, string arrangements, conductor, writer;  Dawilli Gongakeyboards;  Ian Underwood keyboards;  Patrice Rushen keyboards;  David Foster keyboards;  Dennis Budimir guitar;  Jay Graydon guitar;  Mitch Holder guitar, writer;  Ray Parker Jr. guitar;  Anthony Jackson bass;  Alphonso Johnson bass;  Bill Dickinson bass;  Charles Meeks bass;  Mike Porcaro bass;  Harvey Mason drums, percussion Jeff Porcaro drums;  Steve Forman percussion;  Victor Feldman congas;  Ernie Watts saxophone;  Bill Champlin vocals.

Captain Fingers

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