Saxophonist
Ernie Watts
is best known for his work in the 1980s and '90s with
Charlie Haden
in
Quartet West
, and as a leader of some very distinctive dates where his big-boned sound finds its lineage in
John Coltrane
. Before this creative period as a leader, however,
Watts
had played in ensembles led by the great
Gerald Wilson
,
Oliver Nelson
Buddy Rich
, with
Jean-Luc Ponty
, and as a member of the
Tonight Show Band
. He also played dates as a sideman with
Stanley Clarke
and
Lee Ritenour
. In other words,
is one of the more diverse players on the scene.
The Wonder Bag
, recorded under his own name -- actually, as the
Ernie Watts Encounter
-- in 1972 is his first date as a leader. The band that includes such
soul-jazz
jazz-funk
luminaries as
Crusaders
' pianist
Joe Sample
, guitarist
David T. Walker
, and drummer
Paul Humphrey
also includes congeuro
Francisco Aguabella
and bassist
Bob West
, and features guests like
Chuck Findley
George Bohannon
and a couple of others on the track
"Sweetening,"
who form an extended horn section. This
is a very different player than would emerge in later years, yet not only are all the roots here, but
is an overlooked
classic.
is using his harsher-edged tone, but the music is seamlessly groovy, warm, and wonderful.
Sample
plays Rhodes as much as he does acoustic piano;
Walker
offers proof as to why he was in such demand during the era (
Phil Upchurch
was his only peer). This stellar program concentrates all of its efforts on the subject of its title: the music of
Stevie Wonder
. Whether it's the finger-popping celebratory funkiness in
"Nothing's Too Good for My Baby,"
the lithe, airy
"My Cherie Amour"
(
' flute here is deeply moving and lyrical), the stomping dancefloor strut of
"I Was Made to Love Her,"
(featuring a burning
Coltrane
-inspired solo, some great breaks, and early L.A.
reggae
) the backbone slipping, expressively romantic,
"Never Had a Dream Come True,"
or the wildly lyrical
deep soul
essence of
"Ain't No Lovin"
-- where
brings out the deep
jazz
at the heart of
Wonder
's melody -- this set is a kind of feel-good revelation.
Richard Bock
's production is less polished than
Creed Taylor
's,
Bob James
', or
Don Sebesky
's, but it is expansive and wonderfully groovy. The arrangements are there to serve the tune, not showcase the band.
' solos and his interaction with
are inventive, tasty, and worth their weight in gold.
is all killer, no filler, and should be picked up by anyone who is a fan of early-'70s
soul
and groove, as well as anyone who has ever liked
' tone. Highly recommended. ~ Thom Jurek