Drummer Watts propels impressive quartet

Even though drummer Jeff "Tain" Watts has spent much of his career in a supporting role to more high-profile musicians — such as brothers Wynton and Branford Marsalis — his unique, post-bop percussion style has often drawn the spotlight his way.

But, leading his quartet in the first of a two-night stand Tuesday at the Dakota Jazz club, the former Tonight Show drummer still demonstrated that he may make his greatest contributions by complementing and bringing out the best in the other musicians onstage.

Watts opened the early set with his clever re-arrangement of Icelandic singer/songwriter Bjork's minor-key tune "107 Steps." The piece showed how much harmonic complexity a savvy arranger could build out of the bare-bones structure of a simple pop tune.

The star soloist of Watts' current group is young tenor saxophonist Marcus Strickland, who showed why he is one of the most highly regarded saxmen of his generation. Strickland is accustomed to backing adventurous drummers, having recently completed an extended stint with ageless drum wizard Roy Haynes.

On the opening tune, Strickland blew an extended solo that was evoked the late, great John Coltrane in its tonal range, complexity and fluidity. Then Watts led the combo through "Lings Lope" an as-yet unrecorded piece he wrote for sometime band-boss Branford Marsalis. The tune included some quirky spaces and abrupt stops that recalled the composing style of the great Thelonious Monk; Strickland's tenor tone also recalled that of longtime Monk sideman Charlie Rouse.

Watts propelled the swinging tune with his usual verve, accenting the backbeat with some crisp rimshots, one drumstick laid flat atop the snare drumhead.

Watts' group also includes another member of Branford Marsalis' combo, acoustic bassist Eric Revis, whose rhythmic synchronicity with Watts is undoubtedly the product of many nights together on the bandstand.

Watts' quartet includes his latest "discovery" — 20-something pianist Lawrence Fields, whose expansive soloing showed the influence of mid-'60s Herbie Hancock and later McCoy Tyner, but still contained some surprises.

On the next Watts composition, a tribute to Stevie Wonder called "Stevie in Rio," Fields used a synthesizer to emulate Wonder's trademark harmonica sound, while playing chords on the grand piano with his left hand.

Strickland switched to soprano sax and showed an impressive mastery of the challenging, straight horn, maintaining a flawless, smooth tone even while soaring into the upper register.

Watts used a pair of mallets to launch the spiritual, Coltrane-like "Attainment," hammering out some low tones on his snare and bass drum. Bassist Revis used a bow to add some unusual, cello-like tone colors to the mix.

The set closed with Watts' instrumental ode to distilled intoxicants, "Vodville." As he did throughout the set, the fun-loving Watts impressed with his ability to hammer out drum thwacks and cymbal taps that not only answered but often echoed the phrasing and notes being played by the horn and piano soloists. It was a reminder that one of the requisite skills for any top-flight jazz musician is being a great, untiring listener.