Cheap Live & Learn (Music) (Bobby Watson) Price

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Customer Reviews of Live & Learn

Yes we DO know him!
The previous reviewer regrets Bobby's supposed lack of profile but,hey, we know the guy all the way out here in Australia so he cannot be too obscure! Let's get down to it. This CD is terrific. I could list every track but why bother? It's all killer stuff. Whether you like jazz or not you should buy this CD because not only is the playing great but the tunes are hummable. Bet that doesn't happen too often any more!In a world apparently gone mad where US forces are attacking Iraq with the assistance of Australian troops (why? for God's sake. Why?)I listen to this music and feel there is hope for humanity. Just but this CD and you'll feel it too.

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It's far past time to give this great artist his due
Bobby Watson may be the unluckiest person in the history of jazz, a music littered with unlucky people. Watson, who came up with Art Blakey's Jazz Messengers, where he was musical director for a number of years, went on to record four or five great records for the Italian Red label, including one of the best all-time jazz recordings ever, Love Remains. Capitol took notice and signed his group, Horizon, which may have been the best post-bop unit in the history of jazz, to a multi-record contract. And though they produced some great records, esp. The Inventor, they never really hit it big. From there he linked up with Kokopelli, Herbie Mann's abortive attempt to make jazz accessible to the masses, and made the creditable but critically scorned Urban Renewal, which did nothing to advance his already sinking career. Then he made Quiet As It's Kept, back on Red, a really fine record, which promptly sunk like a stone.

That brings us to Live and Learn, which is classic Bobby Watson, again on a small, struggling label, Palmetto (which nevertheless has some very fine artists in its stable, such as Ben Allison, Andrew Hill, and Larry Goldings), again seemingly being ignored by public and critics alike. What does this poor man have to do to get heard, let along get the praise and respect he's due? It must be really discouraging to make breathtakingly outstanding album after breathtakingly outstanding album only to remain in obscurity.

I'm going to go out on a limb and say this is the finest Watson disc to date. It's got all his classic elements--that signature breathy yet biting alto tone; killer compositions that are at once sophisticated, accessible, and gorgeous; maybe his best band ever, especially Montez Coleman, someone I'm not familiar with, on drums (OK, I know it's heresy to say anyone could outdo Victor Lewis--a truly great drummer--on a Bobby Watson record, but I think this Coleman guy's done it) who brings a wealth of chops and taste to the proceedings, plus Gregg Skaff whose doubling, comping, and dialogic guitar playing is astounding; that lilting sadness that permeates everything.

Look, the bottom line is this. Bobby Watson is the best alto player alive. Forget Jackie McLean, forget Greg Osby, forget Tim Berne, forget Sonny Fortune, forget Arthur Blythe, forget Kenny Garret, forget Paquito D'Rivera, forget Richie Cole, forget Dave Binney, forget Marty Ehrlich, forget Donald Harrison, forget Antonio Hart--all good, but not good enough. Yes, Michael Moore (but he's mainly a clarinet player), Peter Epstein (a serious contender), George Cartwright (but he's better on tenor), and Mark Gross (although he's still a work in progress) are up there, but Bobby's still the man. And this is his best record in years. What are you waiting for?