Ernie Watts begins the live show making up his album To the Point with a two-and-a-half-minute unaccompanied solo, seemingly improvising freely as the notes, the tempo and the tone occur to him, and changing quickly from one brief riff to another before he hits upon a quick bop phrase and repeats it as David Witham’s piano falls in with him and Tadd Dameron’s “Hot House” emerges. The solo is a statement of purpose, of course. It’s a traditional jazz touchstone, the lone tenorist in search of creative perfection, Coltrane practicing endlessly alone in his bedroom, Rollins on the Williamsburg Bridge. For Watts, who was 61 when he and his quartet played this show at the Jazz Bakery in Culver City, Calif., in August 2007, it introduces an album deliberately called To the Point and, as he makes clear in his spoken remarks as well as his playing, intended to express the double meaning of that title. This is an artist who has come to the point in his career when he feels free to do as he likes and, at the same time, one who is ready to come to the point, not dillydallying anymore.
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