A saxophonist, composer, arranger and educator, Bobby Watson grew up in Kansas City, Kan. He trained formally at the University of Miami, a school with a distinguished and well-respected jazz program. After graduating, he proceeded to earn his “doctorate” – on the bandstand – as musical director of Art Blakey’s Jazz Messengers. The group, created in 1955 by late legendary drummer who died in 1990, showcased a rotating cast of players, many who, like Watson, would go on to have substantial careers as bandleaders in their own right. The Jazz Messengers – frequently referred to as the “University of Blakey” – served as the ultimate “postgraduate school” for ambitious young players.
After completing a four-year-plus Jazz Messengers tenure (1977-1981) that incorporated more than a dozen recordings – the most of any of the great Jazz Messengers, the gifted Watson became a much-sought after musician, working along the way with a potpourri of notable artists – peers, elder statesmen and colleagues all -- including, but not limited to: drummers Max Roach and Louis Hayes, fellow saxophonists George Coleman and a younger Branford Marsalis, celebrated multi-instrumentalist Sam Rivers and trumpeter Wynton Marsalis (who joined the Jazz Messengers at least in part at the suggestion of Watson). In addition to working with a variety of instrumentalists, Watson served in a supporting role for a number of distinguished and stylistically varied vocalists including: Joe Williams, Dianne Reeves, Lou Rawls, Betty Carter and Carmen Lundy.
Later, in association with bassist Curtis Lundy and drummer Victor Lewis, Watson launched the first edition of Horizon, an acoustic quintet modeled in many ways after the Jazz Messengers but one with its own distinct slightly more modern twist. Among the groups’ other talented members were pianist Ed Simon, trumpeter TereIl Stafford and bassist Essiet Okon Essiet. Clearly, by all critical accounts, Horizon, which still performs together on special occasions, is now considered as one of the preeminent small groups of the mid-1980s to mid-1990s and even into the 2000s. The group recorded several highly acclaimed titles for the Blue Note and Columbia record labels including Post-Motown Bop (Blue Note) and Midwest Shuffle, Live! (Columbia); the latter is a compendium that captured the group in concert at a number of locations in 1993.
Watson’s classic 1986 release, Love Remains (Red) has long been recognized by the Penguin Guide to Jazz (Penguin). Having received the publication’s highest rating it was then identified in the ready reference book’s seventh edition as a part of its “core collection” [i.e. a “must-have”], joining other entries by a number of aforementioned jazz masters as a recording that any jazz aficionado should own.
More recently Watson issued a series of recordings on the Palmetto label. On the heels of his No. 1 releases, Live & Learn (2005) and Horizon Reassembled (2006), which brought him back together with Lewis, Stafford, Simon and Essiet, the saxophonist issued From the Heart (2008) which unveiled yet another project where he again shares the limelight with bassist Lundy. The release also went to No. 1 on the national jazz airplay chart and remained there for nine weeks.
For more than three decades now Watson has contributed consistently intelligent, sensitive and well-thought out music to the modern-day jazz lexicon. All told, Watson, the immensely talented and now-seasoned veteran, has issued some 30 recordings as a leader and appeared on 100-plus other recordings, performing as either co-leader or in support of other like-minded musicians. Not simply a performer, the saxophonist has recorded more than 100 original compositions including the music for the soundtrack of A Bronx Tale, which marked Robert DeNiro’s 1993 directorial debut. Numerous Watson compositions have become classics such as his “Time Will Tell,” “In Case You Missed It” and “Wheel within a Wheel,” each now oft-recorded titles that are interpreted by his fellow musicians both on the bandstand and on other recordings.