Bobby Watson
“
Love Remains is generally regarded as one of his hottest line-ups with the album becoming an acknowledged classic, for example, The Penguin Guide to Jazz gave the album its highest rating and included it in its “core collection” — a “must have” album for any jazz collection.
No wonder Love Remains has become a classic.
„
Stuart Nicholson
«Watson proves his mettle both as an author and as a performer, interpreter and creator of refined melodic lines: in a nutshell, he plays and interprets jazz. The Open Form Trio is nothing short of sublime.». Round Trip
Paolo Orvietani, JazzNotice
«Recorded twenty-four hours from the excellent Appointment In Milano, this album is a further testimony to that singular musical sharing that Bobby Watson found in Italy with the Open Form Trio, following various paths among the tradition of blues, modal jazz, improvisations that recall free show-offs and some escapade of Rollinsian taste (so to speak) in the tropical area. Unlike the previous album, here the game is not played entirely with original compositions: we start from Ornette with the title song, we go on with one of the sweetest ballads (There Is No Greater Love) and continue with that Blue in Green which is perhaps among the most significant pages born from the collaboration of Miles Davis with Bill Evans. There is also a memory of Lee Morgan with Ceora, and the program is completed with Sweet Dreams by Bassini (an episode in three quarters that does not look too bad in front of the others by much more renowned musicians) and with a tribute by Watson to the memory of a guinea saxophonist who was dear to him, Jo Maka.». Round Trip
Salvatore G. Biamonte, Musica Jazz
«It has to be said, early in any appraisal of this record, that Watson is warmly supported by one of Italy’s finest rhythm sections. This writer first encountered the Open From Trio on the excellent Bapriza, recorded in 1980, where the trio had such a rapport you’d think they were triplets. Five more years of shared experience has made them even more empathetic, if that were possible. Now, when they ‘re really cooking, they’re greater than the sum of their talented parts. They are three responsive, imaginative and listening individuals, but they act like one man with six arms and unbelievable coordination. In addition, to a man, they are intelligent soloists. Bobby Watson is such a musician and it looks like this album is the best testimony yet to his kinship with that select few». Appointment In Milano
Mark Gilbert
«A great record! My first impression is that it is a sunny, positive piece of work. Bobby Watson is certainly in great shape: he plays solos that are very lyrical, technical enough (he has a lot to sell), but above all very singable. Maybe it is because this work is recorded in Italy or perhaps because of the osmosis that the Open Form Trio has with the Italian language (I am not exaggerating: listen to it to believe), but there is an energy, a joy hovering over all the work that is awesome. From Appointment In Milano (an exceptional piece) to Funcalypso (Zanchi is great), blues, ballads and calypso alternate, played by Watson with a desire to create music that gives you goosebumps. In (I’m) Always Missing You, the sax almost sounds like a harmonica; in Ballando (Dancing), Watson goes on a crescendo, both for lyricism and intensity; notes as high as whistles conclude the three-minute epilogue on the state of the art of the sax: If Bird Could See Me Now. I believe that Bird was not only seeing him, but that he was next to him in the piece dedicated to him. This is music indicated against depression and the wear and tear produced by certain stereotyped music». Appointment In Milano
Paolo Orvietani, JazzNotice
«This tasty Perpetual Groove comes from a live recording made at ‘Le Scimmie’ in Milan. A disc that should not go unnoticed, certainly not featuring executive approximations or expressive routines. In any case, at the center of the picture is Bobby Watson who, supported very well, seems to be committed to showing his skills to the maximum.».
Bruno Schiozzi, Musica Jazz
«Everyone knows that Bobby Watson is an eclectic musician, a soloist at ease in the most diverse contexts: from funky, to bop, to rhythm ‘n’ blues. But with this record he confirms – should it be necessary – that he is also an excellent arranger. After all, there is an extensive literature on the subject: Watson was the musical director of the Art Blakey group as well as a member of the 29th Street Saxophone Quartet, but he is certainly not known to the general public as a leader of big bands. And here comes this Live at Someday in Tokyo to fill the gap. Leading a close-knit big band of 16 elements made up of some of the most prestigious Japanese bandleaders (not surprisingly, the name of the formation is Tokyo Leaders Big Band) gathered by the producer, Shigenobu Mori, Watson has arranged six original compositions with which he demonstrates an absolute mastery of the means of expression, great skill in varying atmospheres and dynamics, and the ability to put the various soloists at ease in contexts that are congenial to them: in short, all the most important skills of a big band conductor. He starts with Dual Conversation, a song based on harmonic variations on a pedal, full of atmosphere and dynamic changes. In the second piece, Ms. B.C., Watson carves out a solo space playing on his own, well supported by a precise and swinging rhythm. The interventions of the tenor sax and trumpet are also excellent. But it is in the ballad Long Way Home that Watson shows off remarkable orchestration skills, with refined atmospheres and great mastery in the juxtaposition of sections even in the most intricate harmonic passages. He ends with Unfold (which contains a fun salsa song) and the enthralling In Case You Missed lt. Undoubtedly a good record, which will please big band fans without disappointing the lovers of Watson as a solist». Bobby Watson & Tokyo Leaders
Gabriele Comegllo, JazzNotice
«Did Eric Dolphy record for Red Records? From the front cover it would seem so. The similarity between the two is so strong that this work immediately struck and fascinated me. The second surprise is the wise decision to register four (five if we consider All the Things of Jo Maka) standard pieces out of six. The third surprise is the recording date, which is the same as the great Appointment In Milano. My idea is this: in many works, I notice a desire to insert one’s own songs at any cost, which many times are nothing more than a simple technical exercise plus a riff – and voilà, that’s it. I am afraid that the discomfort of dealing with the history of jazz causes young Gershwins or Ellington to assume unrealistic positions towards composition. Watson proves his mettle both as an author and as a performer, interpreter and creator of refined melodic lines: in a nutshell, he plays and interprets jazz. Listen to Blue in Green: after the introduction of double bass and sax, when the piano with the drums comes into play, it seems that the music, after the accumulated tension, melts and unfolds like a sail in the wind. It is the magic of music and of Bobby Watson. Perhaps the young Gershwins are right: it is better not to compare to others and remain in a safe harbor instead of taking to the sea and living. The Open Form Trio is nothing short of sublime: professional and musical to be the envy of the best foreign ensembles.». Round Trip
Paolo Orvietani, JazzNotice
As sideman
Bobby Watson
“
Love Remains is generally regarded as one of his hottest line-ups with the album becoming an acknowledged classic, for example, The Penguin Guide to Jazz gave the album its highest rating and included it in its “core collection” — a “must have” album for any jazz collection.
No wonder Love Remains has become a classic.
„
Stuart Nicholson
As sideman
«Watson proves his mettle both as an author and as a performer, interpreter and creator of refined melodic lines: in a nutshell, he plays and interprets jazz. The Open Form Trio is nothing short of sublime.». Round Trip
Paolo Orvietani, JazzNotice
«Recorded twenty-four hours from the excellent Appointment In Milano, this album is a further testimony to that singular musical sharing that Bobby Watson found in Italy with the Open Form Trio, following various paths among the tradition of blues, modal jazz, improvisations that recall free show-offs and some escapade of Rollinsian taste (so to speak) in the tropical area. Unlike the previous album, here the game is not played entirely with original compositions: we start from Ornette with the title song, we go on with one of the sweetest ballads (There Is No Greater Love) and continue with that Blue in Green which is perhaps among the most significant pages born from the collaboration of Miles Davis with Bill Evans. There is also a memory of Lee Morgan with Ceora, and the program is completed with Sweet Dreams by Bassini (an episode in three quarters that does not look too bad in front of the others by much more renowned musicians) and with a tribute by Watson to the memory of a guinea saxophonist who was dear to him, Jo Maka.». Round Trip
Salvatore G. Biamonte, Musica Jazz
«It has to be said, early in any appraisal of this record, that Watson is warmly supported by one of Italy’s finest rhythm sections. This writer first encountered the Open From Trio on the excellent Bapriza, recorded in 1980, where the trio had such a rapport you’d think they were triplets. Five more years of shared experience has made them even more empathetic, if that were possible. Now, when they ‘re really cooking, they’re greater than the sum of their talented parts. They are three responsive, imaginative and listening individuals, but they act like one man with six arms and unbelievable coordination. In addition, to a man, they are intelligent soloists. Bobby Watson is such a musician and it looks like this album is the best testimony yet to his kinship with that select few». Appointment In Milano
Mark Gilbert
«A great record! My first impression is that it is a sunny, positive piece of work. Bobby Watson is certainly in great shape: he plays solos that are very lyrical, technical enough (he has a lot to sell), but above all very singable. Maybe it is because this work is recorded in Italy or perhaps because of the osmosis that the Open Form Trio has with the Italian language (I am not exaggerating: listen to it to believe), but there is an energy, a joy hovering over all the work that is awesome. From Appointment In Milano (an exceptional piece) to Funcalypso (Zanchi is great), blues, ballads and calypso alternate, played by Watson with a desire to create music that gives you goosebumps. In (I’m) Always Missing You, the sax almost sounds like a harmonica; in Ballando (Dancing), Watson goes on a crescendo, both for lyricism and intensity; notes as high as whistles conclude the three-minute epilogue on the state of the art of the sax: If Bird Could See Me Now. I believe that Bird was not only seeing him, but that he was next to him in the piece dedicated to him. This is music indicated against depression and the wear and tear produced by certain stereotyped music». Appointment In Milano
Paolo Orvietani, JazzNotice
«This tasty Perpetual Groove comes from a live recording made at ‘Le Scimmie’ in Milan. A disc that should not go unnoticed, certainly not featuring executive approximations or expressive routines. In any case, at the center of the picture is Bobby Watson who, supported very well, seems to be committed to showing his skills to the maximum.».
Bruno Schiozzi, Musica Jazz
«Everyone knows that Bobby Watson is an eclectic musician, a soloist at ease in the most diverse contexts: from funky, to bop, to rhythm ‘n’ blues. But with this record he confirms – should it be necessary – that he is also an excellent arranger. After all, there is an extensive literature on the subject: Watson was the musical director of the Art Blakey group as well as a member of the 29th Street Saxophone Quartet, but he is certainly not known to the general public as a leader of big bands. And here comes this Live at Someday in Tokyo to fill the gap. Leading a close-knit big band of 16 elements made up of some of the most prestigious Japanese bandleaders (not surprisingly, the name of the formation is Tokyo Leaders Big Band) gathered by the producer, Shigenobu Mori, Watson has arranged six original compositions with which he demonstrates an absolute mastery of the means of expression, great skill in varying atmospheres and dynamics, and the ability to put the various soloists at ease in contexts that are congenial to them: in short, all the most important skills of a big band conductor. He starts with Dual Conversation, a song based on harmonic variations on a pedal, full of atmosphere and dynamic changes. In the second piece, Ms. B.C., Watson carves out a solo space playing on his own, well supported by a precise and swinging rhythm. The interventions of the tenor sax and trumpet are also excellent. But it is in the ballad Long Way Home that Watson shows off remarkable orchestration skills, with refined atmospheres and great mastery in the juxtaposition of sections even in the most intricate harmonic passages. He ends with Unfold (which contains a fun salsa song) and the enthralling In Case You Missed lt. Undoubtedly a good record, which will please big band fans without disappointing the lovers of Watson as a solist». Bobby Watson & Tokyo Leaders
Gabriele Comegllo, JazzNotice
«Did Eric Dolphy record for Red Records? From the front cover it would seem so. The similarity between the two is so strong that this work immediately struck and fascinated me. The second surprise is the wise decision to register four (five if we consider All the Things of Jo Maka) standard pieces out of six. The third surprise is the recording date, which is the same as the great Appointment In Milano. My idea is this: in many works, I notice a desire to insert one’s own songs at any cost, which many times are nothing more than a simple technical exercise plus a riff – and voilà, that’s it. I am afraid that the discomfort of dealing with the history of jazz causes young Gershwins or Ellington to assume unrealistic positions towards composition. Watson proves his mettle both as an author and as a performer, interpreter and creator of refined melodic lines: in a nutshell, he plays and interprets jazz. Listen to Blue in Green: after the introduction of double bass and sax, when the piano with the drums comes into play, it seems that the music, after the accumulated tension, melts and unfolds like a sail in the wind. It is the magic of music and of Bobby Watson. Perhaps the young Gershwins are right: it is better not to compare to others and remain in a safe harbor instead of taking to the sea and living. The Open Form Trio is nothing short of sublime: professional and musical to be the envy of the best foreign ensembles.». Round Trip
Paolo Orvietani, JazzNotice