BOBBY WATSON “Perpetual Groove”

ARTIST

Bobby Watson

ALBUM TITLE

“Perpetual Groove”

LABEL

Red Records

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The jazz world will forever be grateful to Art Blakey for showcasing his drumming talent and for welcoming so many remarkable musicians into the history of jazz. Among them is Bobby Watson, whom Blakey discovered when he was twenty-three and entrusted with the musical direction of his Jazz Messengers. Shortly after Watson left the group, Sergio Veschi, founder of Red Records, had the foresight to sign him. It is worth noting that the first part of the saxophonist’s discography took shape mostly in Europe.

Now, a live recording considered among Watson’s finest has been expertly remastered and returns to highlight his unmistakable stylistic signature: phrasing reminiscent of Parker and an expressive urgency that recalls Anthony Braxton’s bop interpretations. All of this remains firmly rooted in jazz tradition, as demonstrated by the title track, a frenzied solo saxophone performance built on circular breathing, in which the blues can be glimpsed beneath the unstoppable cascade of notes. The same is true of part of Sonny Rollins’s Oleo, where Watson once again claims a completely solitary space.

Yet the frenetic atmosphere extends across the entire album, as if Watson sought to push beyond the limits of humanly possible speed for a soloist. This is evident from the opening Cherokee, which is even more breathless than Charlie Parker’s famed reinterpretation, Koko. The intensity continues with the Coltrane-inspired Mr. P.C., in which Watson plays soprano saxophone while maintaining his distinct style. The brilliance and clarity of his articulation remain consistent whether he is playing alto or soprano. Such extreme tempos obviously demand perfect command of the instrument.

On this front, the three Italians accompanying Watson are anything but intimidated. Bassini respects the orthodoxy of bop in his comping and reveals a sparkling spirit worthy of Oscar Peterson as a soloist. Zanchi demonstrates the intriguing ability to serve both as solid accompanist and, at times, as Watson’s supporting partner. As for the late Giampiero Prina, his drumming provides the leader with all the energy he could need, as the soprano–drums duet in Oleo clearly shows.

“Energy” is indeed the most fitting word to sum up Perpetual Groove.

Giuseppe Piacentino

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