Consider the names. Charlie Parker, Count Basie, Joe Turner, Bernie Moten, Pete Johnson, Jay McShann, Andy Kirk, Mary Lou Williams, and the subject at hand, Bobby Watson, all hail from Kansas City. Surely the Kansas City sound may not be as identifiable as that of New Orleans or even the West Coast, but Watson does his best to tap into the city’s rich jazz heritage. He enlists a top-shelf group of musicians to form his quintet – trumpeter Jeremy Pelt, pianist Cyrus Chestnut, and his longtime bass-drum tandem of bassist Curtis Lundy and drummer Victor Jones, the same duo that graced his Smoke Sessions 2020 Art Blakey-themed Keeping it Real which we covered on these pages. Here on Back Home in Kansas City Watson is all about melody and lyricism, soaring in the company of this elite group with a blend of soul and balladry from his alto saxophone that he refers to as “a singing horn.”
While Watson spent a quarter of a century in NYC, he returned to his hometown of Kansas City in 2000, to serve as Director of Jazz Studies at the University of Missouri-Kansas City’s Conservatory of Music and Dance, retiring in 2020. So, with two full decades behind him in his stomping grounds, he’s enriched his knowledge of both the city’s musical heritage and how its audiences respond to his music. Contrary to what you may think Watson is looking forward, not backward as these compositions are mostly originals, five by Watson, one each from Chestnut, Jones, and Pelt as well as one from John Coltrane. another from the late pianist, John Hicks, and another owing to Jimmy Dorsey.
The opening title track does indirectly owe to Charlie Parker as it’s a contrafact of “Back Home in Indiana” which is the basis for Parker’s bebop classic “Donna Lee.” The fiery Pelt proves to be a worthy front-line partner here and throughout, with his inspired soloing. Jones had Count Basie in mind with “Red Bank Heist,” (Basie was born in Red Bank, NJ), as Watson’s alto weaves in and out, sometimes intertwined with Pelt’s trumpet evoking big band solos while the rhythm trio lays down an Art Blakey soul-jazz rhythm.
With vocalists playing a key part in the city’s history, it seems only fitting to have at least one represented, Hence the acclaimed Carmen Lundy joins for “Our Love Remains,” a tune written by Watson and his wife Pamela and rendered all instrumentally on two previous Watson albums, 1986’s Love Remains and 1992’s Present Tense. Lundy’s is a sultry, simmering ballad not unlike versions done by Kevin Mahogany and Melissa Walker. Lou Rawls was planning his own prior to his passing. Watson becomes Lundy’s duet partner here, delivering lyrical lines in response to hers.
Watson’s “Bon Voyage” is a mid-tempo swinger, featuring strong unison playing and soloing by him and Pelt as it is loosely based on Herbie Hancock’s “Maiden Voyage.” Chestnut’s “The Star in the East” is a gorgeously bright ballad with fine turns from the composer who especially shine in these kinds of ballads, while Watson and Pelt share in lifting the sumptuous melody. Pelt also offers a tender tune, using his muted trumpet to full effect on “Celestial” while Watson takes his Bird-like flight. Hicks’ “Mind Wine” is a natural here as Watson, Jones, and Lundy all collaborated often with the late pianist. This rollicking tune has the quintet firing on all cylinders in hard bop mode.
“Dear Love,” one of the most lyrical songs in John Coltrane’s catalog is made to order for this quintet, given the strength of these players in ballads, especially Chestnut’s achingly sensitive touch, and Jones’ brushwork. Obviously, we’re used to hearing a tenor, but Watson’s alto here emits a superb emotive tone, balancing the blues with the spiritual. Watson also honors Trane less directly, modeling “Side Steps” on “Giant Steps,” the third tune where he built on a classic chord structure.
Dorsey’s standard “I’m Glad There Is You” is yet another delectable ballad and it represents Watson at his lyrical best. His is a to-die-for chill-inducing solo while Chestnut comps delicately and Pelt sits out. The closer, “Blues for Alto” is the most “Kansas City” song in the set, perfect soul blues for the BBQ and few cold ones as Lundy takes his only extended solo and each quintet member takes a gritty, back-in-the-alley turn. Bobby Watson is home and has never sounded better.
