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4.5
Ernie Watts' European quartet with pianist Christof Saenger, bassist Rudi Engel, and drummer Heinrich Koebberling has been together for more than 15 years, about half the time that the tenor saxophonist spent fruitfully as a member of the late bassist Charlie Haden's esteemed Quartet West. For the 2014 album by Watts' quartet, A Simple Truth, the leader offered an "Extra Special Thanks" in the liner note "to Charlie Haden, my inspiration and infallible guide to beauty in music for almost thirty years-- we love you." With this CD coming after Haden's death, Watts dedicates the title tune, "Wheel of Time," to his memory. Watts continues to have one of the most recognizable sounds and approaches in jazz today, from tender to tempestuous, and always emotionally committed, and his backing trio here as usual brings out the best in his playing. The program is delightfully varied, with four Watts originals, one from each of his band mates, and tunes by Joe Henderson and Toronto pianist Adrean Farrugia, running the gamut from blues, calypso, and a waltz, to post bop and a ballad.For "Letter from Home," a strutting Engel bass line and a plaintively preaching theme from Watts' tenor combine to appealing effect. Watts solo is both finely nuanced and wailingly ecstatic, while Saenger's is more lyrically subdued. "A Distant Light" is an enchanting ballad that would have worked well on one of Quartet West's Los Angeles / Hollywood noir projects, with Watts, Saenger, and Engel all in eloquent form during their solo turns, and Koebberling supplying a delicately shaded rhythmic framework. Henderson's dramatically energized "Inner Urge" fits Watts' declamatory style perfectly, as he surges through the melody and then initiates an intense, swirling improv. Saenger's propulsive response, and Koebberling's lively trades and subsequent workout only add to the heat.Engel's "Andi's Blues" finds the bassist, pianist, and saxophonist in harmony on the tricky, spiraling blues theme, with its composer initiating a series of swinging, upbeat statements, as Koeberling enthusiastically drives the action, and the threesome then indulging in a spirited rotating discussion on the meaning of the blues. Saenger's samba, "L'Aqua Azul,"sways alluringly, evoking its title, with the pianist's improv melodically and rhythmically enticing. Watts follows in a soulful, beseeching manner, his ever distinctive timbre only elevating his rapt expressiveness. Koebberling gets into the composing act with "You and You," and its lovely, sinuous theme is graced by Saenger's buoyant, dancing solo, and Watts' heartfelt, emotion-on-your-sleeve pronouncement."Velocity" certainly resembles its title, a breakneck hard bop venture seemingly based on the structure of Coltrane's "Giant Steps," with Watts exploding right out of the chute for a vigorous, creatively sustained run through. Saenger sparkles as well, nimbly essaying the undulating changes. Finally, Watts and Koebberling go at it alone, and unrelentingly so, in the manner of Trane and Elvin. Farrugia's "Goose Dance" is a floating, cleverly constructed calypso, which inspires Watts to thematically infectious, rhythmically engaged heights. Saenger then swingingly displays his aptitude for the genre. The concluding "Wheel of Time" possesses a solemn air, the reflective theme introduced by Watts and Engel, with the latter taking the first, lucidly captivating solo. Watts' declaration cries out with both love and pain, and Saenger's is soothingly reassuring. The leader's tenderly commanding reprise leads to Engel's unaccompanied, resolving coda.
