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MUSIC MEETING NIJMEGEN (WORLD MUSIC FEST) HOLLAND - MAY 2007
Laurent Sprooten - assistant to programmer
I think the concert of your duo belongs to my top 5 of outstanding Music Meeting-concerts over all these years. And apart from the quality/excellence as such, there's another thing: concerts like these (and they are rare enough) expand the dynamics and the horizon of an open air world music festival like Music Meeting. And what I noticed happily was the fact that the audience took the challenge and stayed seated for the whole concert. Your music can be demanding for the listener, but it gives a great feeling when they succeed at getting inside it. And that's what all these people experienced. So we have to thank you and Jamie for broadening the festival experience.
Live In Sao Paolo Review 2007
The saxophonist Trevor watts has cut an individual and idiosyncratic figure on the British jazz scene for over forty years. Throughout this period he has resolutely refused to compromise his music and has built up a highly distinctive body of work in a variety of settings. The veteran improviser has played with the Spontaneous Music Ensemble and with The London Jazz Composers Orchestra. He has had stints in the bands of Louis Moholo and Stan Tracey as well as leading his own groups. These have included Amalgam, Moire Music and more recently the Celebration Band.
Watts' previous album "World Sonic" an album of improvisations for solo alto saxophone was esoteric even by his standards and frankly rather forbidding. This live recording with percussionist Jamie Harris is far more melodic and approachable but Watts' familiar intensity is still there. Harris is the percussionist in Watts' Celebration Band and the pair have been working as a duo for a number of years now.
Although the album was recorded in Brazil there is an undeniable Middle Eastern element to Watts' saxophone sound, sometimes reminiscent of the muezzin's wail. He has always been fascinated with world music since his days leading his Drum Orchestra and this is embodied both in his own playing and in Harris' percussion which despite the locale is more African than Latin.
The compositions are all by Watts and his strong themes allow the duo's improvisations plenty of room to breathe. However the underlying structure keeps the players focused and the music never descends into mere cacophony.
Most of the tracks feature Watts' razor sharp alto or soprano cutting a swathe through the dense forest of Harris' percussion. "Tribal" is a technical tour de force of circular breathing as Watts' conjures seemingly impossible flurries of notes from his horn.
"Sopata" is also a stirring high-energy piece and brings Harris into the spotlight with some furious hand drumming. For most of the recording Harris is happy to act as Watts' foil but his solid, sympathetic rhythmic support is crucial to the overall success of the project.
One of the album's highlights is the tender ballad "Anna B" which reveals the more gentle side of Watts' musical personality.
By contrast the closing passages of the final track "Ancestry" have an almost primeval intensity. Harris contributes wordless vocals alongside his booming percussion. Watts impassioned saxophone solos over this immensely powerful backdrop squeezing notes from his instrument that don't sound as if they ought to be physically possible. It's an astonishing display of technical excellence and raw power.
Recorded at the Teatro Popular do Sesi in Sao Paulo this sounds a very exciting gig. An exuberant Brazilian crowd give the duo a rapturous reception and on this showing they should be worth checking out nearer home.
Although this album will mainly appeal to hard-core fans of free improv/avant garde there is still plenty here for the less committed listener to enjoy. Much more forgiving than "World Sonic" this is a record that stands up to repeated scrutiny.
Hi4Head Records: HFHCD005
Review by Ian Mann
BURUNDI MINDI REVIEW 2007
American listeners may know Trevor Watts as an accomplished alto/soprano saxophonist, but more likely they will associate him with the British avant-garde.
Now in his late sixties, Watts logged a lot of time with blues, rock and traditional jazz bands before joining drummer John Stevens in 1965 to form the Spontaneous Music Ensemble (SME), a collective that provided a launching pad for many visionary British free improvisers—from Watts to Dave Holland, Kenny Wheeler, Derek Bailey and Barry Guy.
Burundi Monday, recorded live in 1983 by the Trevor Watts Drum Orchestra (put together in the 1980s) presents to our more contemporary ears a fresh, exciting and focused example of mostly improvised music. The two tracks (“Burundi Monday” clocking in at near thirty-five minutes and “Double Up” just under half that length) reveal the huge difference in approach between the Drum Orchestra’s layering of a groove foundation and the more illustrious, unpredictable SME.
Here we hear a side of Watts’ playing and listening skills that might not have been so evident elsewhere. There’s more of his background in traditional jazz and blues as well as the obvious penchant for African music: far from a simple appropriation of stylistic affectations, it’s heartfelt music played with deep musical skill, yet open to spontaneity.
The players are outstanding, including surprises in violinist Peter Knight (known more for his work in the British trad-folk-rock band Steeleye Span) and drummer Liam Genockey (also more from the rock world). Both contribute wonderfully to the total concept with a special melodic interplay.
Bassist Ernest Mothle also contributes greatly to the overall sound, working with a multi- dimensional approach that invokes Jaco Pastorius’ electric chops and Charlie Haden’s floating, harmonic directions. This first-time issue is a real find.
Visit Trevor Watts on the web.
Trevor Watts at All About Jazz.
Track listing: Burundi Monday; Double Up.
Personnel: Trevor Watts: saxophone; Peter Knight: violin; Mmaid Kamara and Nana Tsiboe: African percussion; Ernest Mothle; Liam Genockey: drums.
2006-10-04
This is a review from our gig at the Vortex in 2006
Duo gigs frequently allow performers to relax, stretch out musically in congenial, familiar company, and play exactly as they wish to; Trevor Watts and Jamie Harris did just this on Tuesday, 11 April to a respectably sized crowd that hung on their every note.
Harris set up a rhythm on his African drums, Watts snaked in and out and around it, often utilising circular breathing on soprano and alto to build up musical tension, and together they journeyed through a series of slow-building, ultimately climactic pieces, employing a variety of so-called 'world' rhythms in the process.
Numerous bases, from free jazz, through hurtling post-bop to almost shamanistic incantatory playing, were touched in the duo's sets, and the energy and sheer brio of their music more than justified Howard Reich's summary in the Chicago Tribune: 'their work represents an ideal of duo playing Ù [Watts] finds a keenly sensitive foil in Harris, who plays [Ù] with as much tonal imagination and flexibility of rhythm as his reed counterpart'.
This extraordinary trio feature Trevor Watts on alto & soprano sax, Gibran Cervantes on Urukungolo and Jamie Harris on congas & percussion. Don't be surprised if you haven't heard of a "Urukungolo" before, since it was Mexican-born Gibran Cervantes, that invented it. The Urukungolo is a large wooden frame with differently tuned berimbaus suspended on it. Sort of like a large hammered dulcimer. Trevor Watts has been working with this Mexican percussionist for the past few years, as well as touring in a duo with British percussionist , Jamie Harris. Trevor & Jamie have a wonderful duo disc out on Hi 4-Head which came out recently as played a great set at CB's last year. 'Mutuality' opens with Gibran's "5/7", which features the shimmering sounds of Mr. Cervantes' giant hammered dulcimer-like instrument, Jamie's somber conga groove and Trevor's impassioned alto sax playing. On "Mirror", Gibran plays this great, hypnotic repeating bass-like line on his as Trevor takes a sly, mysterious soprano solo with Jamie slowly adding his conga punctuation. Completely enchanting. Those in the know will remember Trevor's "3 Part Invention" from that recent duo disc with Jamie. It is also done here and is no less sublime with some excellent alto playing and conga grooving. I dig the way Gibran's dancing dulcimer, Jamie's congas and Trevor's snake-charming soprano weave together in a cosmic haze on "Recharge". The grand conclusion occurs on "Tribal", a 14 1/2 minute epic that will leave you breathless. Building from solo soprano, to a duo with the congas to a trio with the urukungolo. An incredible piece. Again, FMR leaves us with a gem, too amazing to ignore. -
By Bruce Gallanter of Downtown Music Gallerey New York
2006-10-04
TREVOR WATTS/JAMIE HARRIS
Live in Sao Paulo CD Review
Featuring Trevor Watts on alto and soprano saxes & Jamie Harris on congas and hand percussion. Legendary British saxist, Trevor Watts, has had a long and diverse career. Although he can be heard on some 50+ discs starting in the mid-sixties, he has been in basically three bands. First there was the Spontaneous Music Ensemble (mid-60's to mid'70's), which he founded with drummer John Stevens. SME were the pioneers of "free/jazz" in the UK. Then there was Amalgam, which also included John Stevens at the beginning of their reign, eventually turning into a free/fusion band of sorts. Then comes his most recent group the Moire Music Drum Ensemble, which has featured up to four African percussionists and a rhythm section. I caught them up at Victo in the early days and they were great. Last year, Trevor contacted me about having this group play in NY, but I couldn't afford to put an eight-piece ensemble up. So what did Trevor do, he toured with just one conga player, named Jamie Harris. A bunch of us were lucky enough to catch them at the CB's Sunday night series last year. They were incredible and yes, just sax and conga with a bit of voice. The first thing is that, the sound is captured superbly. Jamie's congas sound warm and inviting with Trevor's sax riding the groove, both locking into one dancing vibe. This is not mere improv, but lyrical songs that reach out and caress our hearts, souls and bodies. They repeat the phrases over and over so that it is easy and fun to sing along. There is something ancient and ethnic sounding going on here. Give and take, back and forth, both getting into that infectious groove. Trevor plays his soprano and alto with dizzying dexterity, It is rare that music this dazzling is so much fun to listen or just groove to. I love it when they lay back on "Eastern Eyes" and softly caress out tired bodies with soothing sounds. Trevor gets a more Middle-Eastern sound when he plays soprano sax on "Sopata", holding on and stretching those notes out until the duo pick up speed and twist the notes inside-out, a powerful, intoxicating segment. Too much! They slow things down to a sublime simmer on "Anna B", where Trevor's sax spews out some of those dynamic, lyrical lines ever so righteously. "Ancestry" closes this gem with another infectious groove and a delightful, dancing, joyous sax solo. Jamie sings along in the middle of the last piece and we all feel the need to join in. Perfect party music for those of us who love to jump and groove like dancing fools who don't care what others think. - Bruce Gallanter at Downtown Music Gallerey, New York
2006-08-06
SPECTRUM CENTRE, INVERNESS. (Review in Scotsman by Kenny Mathieson) July 2006. Saxophonist Trevor Watts emerged to wider notice in the ferment of the emerging free jazz scene in the UK in the mid-Sixties, but his abiding love for both melody and rhythm sat increasingly uncomfortably with the angular abstractions and free-form experiments of the genre. Free improvisation remains one of the resources informing his playing, but the principal focus of his musical energies over the last couple of decades have been channelled into developing a musical concept that brings together musical influences and idioms from jazz and so-called "world music", and reshapes them in individual and very personal fashion. His experiments in that direction with Moire Music, the Drum Orchestra and the Celebration Band are reflected in distilled and concentrated essence in this duo with percussionist Jamie Harris. This short Highland tour is their first time in Scotland, and the small drama studio at the Spectrum Centre provided a resonant acoustic and an intimate, up-close experience for the audience, a number of whom had participated in an earlier workshop. Watts was an advocate for world music long before that marketing term was hung on it, and the bedrock of the duo's music lies in the diverse rhythms borrowed and adapted from a range of sources, taking in Indian and African music, the sonorities of the Middle East, and Latin America. Harris is not a conventionally virtuoso jazz percussionist - indeed, when he first met Watts at a Celebration Band workshop, he was a singer, and took up the djembe and congas he employed here at the saxophonist's prompting. His strong, insistent hand drumming and attention to musical texture as well as rhythm laid down a powerful foundation for the saxophonist's melodic explorations. Watts switched between alto and the shriller soprano (briefly playing them simultaneously in the manner of Roland Kirk on the final tune), developing and expanding an unremitting flow of ideas from the basic pre-determined melodies, and ranging widely and expressively across the sonic and timbral possibilities of the saxophone.
2006-07-24
THE WIRE - July 2006
'Recorded live at a 2005 concert in Sao Paulo before an enthusiastic audience - live surely being the best way to catch saxophonist Trevor Watts and percussionist Jamie Harris. Watts feeds from the momentun of Harris's energetic pattern making. On soprano saxophone and to some extent alto, he favours a taut, nasal tone reminiscent of Middle Eastern or North African double reed instruments. The association is compounded by his taste for sinuous melodic lines, unfurled around the contours of Harris's buoyant drumming. For a long time Watts has given priority to communicative directness in his music. In this duo as in Moire Music and The Celebration Band, Watts achieves that goal with skill and imagination, and without a hint of crudity or complacency. As ever, the result is highly enjoyable and well worth hearing.
Julian Cowley.
2006-07-12
Check out the Duo's new QuickTime video here! shot in Mongolia during the Festival of Roaring Hoofs 2005.
2006-07-11
It's time a promoter or festival brought Trevor Watts back to Australia
because the British saxophonist is at the height of his powers.
His last CD, World Sonic, comprised 18 miraculous solo inventions and
this
equally superb new release documents his duo with percussionist Jamie
Harris, captured in a Sao Paulo theatre last year.
It is a particularly fertile collaboration and not just because of the
obvious intensity of the rapport. What is remarkable is that for all
the
creative freedom they enjoy together, the ensuing music boasts an
energy and
ready accessibility that should instantly captivate listeners with a
wide
variety of tastes.
Watts's soprano has a primal quality to its beauty, while his alto is
especially pungent: a big sound more like a whole horn section.
Similarly,
Harris's hand-drumming can conjure up several percussionists, not so
much
through being overly busy but because of the richness of his sounds.
And the
recording quality is outstanding.
John Shand ( Sydney Morning Herald )
2006-03-21
Alto saxophonist Trevor Watts tells me that he embarked upon this solo
project with some reluctance; he simply prefers playing in the company of
other musicians. A founding member of the Spontaneous Music Ensemble, the
superior crossover group Amalgam and the mesmerising polyrhythmic ensemble
Moire Music, Watts is regularly heard these days in the context of the
ebullient Celebration Band and in duet with fine percussionist Jamie Harris.
Thankfully, though, Watts capitulated to insistent requests of producer Nick
Dart and the result is "World Sonic", an accomplished and thoroughly
enjoyable set of 18 alto improvisations, ranging in length from little more
than a minute to just over five.
A capacity for purposeful circular breathing is impressively on show here.
Watts long ago turned his back on what he came to recognise as cliches
emerging within a congealing repertoire of supposedly free improvising.
Instead, he has attended to the melodic and rhythmic invention of disparate
musical traditions and has developed his own playing, not in imitation, but
with awareness of those options. As a result Watts is not really alone here;
his playing echoes and interweaves quite evidently with the sounds of other
music he has encountered in his many years of extensive listening and
travelling. In his imagination, he is clearly embedded in fertile music
making company. Hockets of singing Pygmies in Central Africa, drones of
Eastern European bagpipes, the nasal warbling of Middle Eastern flutes,
nocturnal Harlem Jazz, intricate Celtic reels, pentatonic Gamelan tunes and
numerous other strands reverberate into these traveller's yarns, unassuming
and effective elaborations upon global sounds issued from the saxophonists
home town, Hastings on the Sussex coast.
THE WIRE - Jan 2006
World Sonic review
by Julian Cowley.
2006-03-14
British reedman Trevor Watts' World Sonic takes a different approach to free
improvisation. Alto sax
solos are built on the concept that improvisation stems from repetition;
Like a Jumanji construction, each
phrase in a song is only slightly different from the last. As Watts repeats
a phrase, he is able to find the
underlying tones, rhythms and melodies buried within. He subtly peels away
all that is superfluous
and reveals what his creative mind has found in an otherwise basic motif.
However avant these respective albums come off, they demonstrate the most
primitive and storied
tradition in jazz: the artist, while performing solo, is on full display to
the audience. Every thought and
every emotion comes through the horn in the kind of clarity and meditation
that only the great masters can
pull off.
Review from "All About Jazz" New York edition
World Sonic (solo)
Trevor Watts
(Hi4Head)
by Abe Pollack
2006-03-03
Trevor Watts Special issue now on line at http://pointofdeparture.org/
Down Beat journalist Bill Shoemakers magazine "Point Of Departure"
Review of our Tampere gig + in depth interview with Trevor + selected review of Trevor's back catalogue .
2006-03-02
Trevor Watts:
World Sonic
Hi 4 Head Records HFHCD004 (www.hi4headrecords.com)
****
Trevor Watts has hardly rushed into this. After 40 years of pre-eminence in
British jazz and improvised music he has made his first album of solo
saxophone. Such a project is always hugely challenging, necessitating, as it
generally does, a treasure-trove of approaches to sustain interest. The
compositions are all his own, and Watts has chosen to forswear his soprano
saxophone to concentrate on alto (with no overdubs or added effects). This
self-imposed restriction seems to have driven him to greater heights of
invention.
As on several of the 18 pieces, the opening <Solarsonic> has Watts
circular breathing while creating variations on a central motif of
considerable momentum. The continuous flow of this contrasts with the short,
stabbing phrases of <Weejah Song>, which mingles plaintiveness and
insouciance. <The Chase> returns to the methodology of <Solarsonic>, with,
as the title would suggest, an even more pressing sense of impetus. The
circular breathing is retained for <Soft Call>, but the timbre of the alto
is now so much more mellow as to almost sound like a different instrument,
the melody arriving in a kaleidoscope of flecks, like paint flicked at a
canvas. The sound changes dramatically again for <How it Goes>, the tone now
expansive and the lonely tune steeped in the blues.
For <Passionato> Watts broadens the vibrato, so both sound and melodic
ideas suggest a fervour that is usually the domain of Italian opera.
<Sliding Reel> uses circular breathing in a rapid, reel-like tune, while
<Duplette> exploits the technique to imply two saxophones in conversation
with each other, and <Head Tones> uses it to sustain long, eerie tones that
sweep between the speakers. A singular achievement.
John Shand ( Published in LIMELIGHT , a national Australian arts publication )
2006-01-21
All About Jazz's New York edition will feature a reveiw of Trevors solo album "World Sonic" in March
2006-01-08
http://www.pointofdeparture.org/ Is a new online Music Magazine Edited by American Journalist Bill Shoemaker .
Bills interview with Trevor will be featured in the March edition which will also include a review of our concert at the Tampere Jazz Happening from last November .
2005-12-02
BBC RADIO 3 "MIXING IT" FRIDAY 2ND DECEMBER 2005 AT 10.15 P.M.
weblink:http://www.bbc.co.uk/radio3/mixingit/
There's a broadcast of Trevor Watts (Saxes), Jamie Harris (Percussion) and
Mexican musician Gibran Cervantes(Urukungolo/Percussion)who visited here for
the first time a few weeks ago . Gibran is the musician that
Trevor has been playing with in Mexico for the last couple of years, and
sometimes with Brasilian percussionist Cyro Baptista. The Urukungolo is an
instrument designed by Gibran and made in conjunction with some skilled
luthiers, people who know the practicalities of making stringed instruments
and working with wood. Basically it utilises differently tuned Berimbaus
wired together in a large frame that he can pluck, bend or strike with
sticks. The sound is akin to a Grandfather Hammered Dulcimer, or Finnish
Kantele for those that know that instrument, and I've just played in Finland
and met a lot of Finns who didn't know it either.
2005-10-31
Enjambre Acoustico Urukungolo's Session for BBC 3's "Mixing It" Programme will be broadcast on Friday 2nd December, 10.15-11.30pm.
Six tracks will be featured + interviews with Gibran Cervantes and Trevor Watts
2005-09-06
"Enjambre Acustico Urukungolo"
In late Oct and early November 2005 Jamie and Trevor will be joined for some concerts by Mexican percussionist Gibran Cervantes . His web site is
http://www.perarts.org/UrukungoloEng.html
The Trio will perform as "Enjambre Acustico Urukungolo" . Urukungolo being the name Gibran has give to the multi faceted Percussion instrument that he has invented and built himself. Please see the gig guide for details of concerts . The trio will also be recording a session for BBC Radio Three's Mixing It programme on 29th Oct .Watch this space for details of the broad cast date .
2005-07-05
Debunking the notion that everyone comes to New York if nowhere else,
reedman Trevor Watts made his first ever appearance in New York (June 5) in
a career that began in the ?60s. The not-so-sparse as usual crowd at CB?s
Lounge were treated not to the insect music Watts created with John Stevens?
Spontaneous Music Ensemble, but a duo exploration of the African rhythmic
tradition, as done by alto and soprano saxophone (Watts) and congas, djembe
and darbouka (Jamie Harris). This was no Interstellar Space; rather this was
tribal dance music (one woman did even get up and boogie) with swirling
celebratory melodies. There were five pieces penned by Watts (?Three and
more,? ??L? Heaven,? ?Sopata,? ?Multiki? and ?Ancestry?), all firmly based
in a primal theme-and-variations mode. When on alto, the music tended more
towards jazz; soprano heralded a more ethnic bent. The one constant was
Watts? earthy approach to the saxophone, more communicative than
intellectual. Another accomplished British circular breather, Watts used the
difficult technique organically instead of as a disconnected exercise,
extending melodic lines within pieces and then switching back to long tones.
The tunes were relatively short but felt satisfyingly complete; the closing
?Ancestry? was the longest, energizing the crowd with Harris? chanting and
several false endings.
ALLABOUT JAZZ - NEW YORK REVIEW - June 2005
~ Laurence Donohue-Greene
2005-07-05
The concert at Teatro Municipal in Rio Grande, Brasil is the 105th anniversary of the oldest soccer club in Brasil which was founded by English people in 1900. The duo shall be performing for this event.
2005-06-16
The tour in the USA and Dominican Republic was very successful this June 2005. Jamie & Trevor played to nearly 1,000 enthusiastic people in the Central Park of Puerto Plata in the Dominican Republic. Previous to that they had done a performance at CBGB's club in New York and received a standing ovation from the crowd there. All the concerts were well received. A recording was done whilst in the States of some "live" performances there, and a CD will eventually be issued from the tour on the Entropy label (USA). There's a possibility that they may return to the Dominican Republic for more concerts in June 2006.
2 duos in same city but a world apart
Trevor Watts, Jamie Harris thrive on a higher plane
By Howard Reich
Tribune arts critic
June 3, 2005
Duos never have been abundant in jazz, but these days they practically have become extinct.
Thanks to a coincidence of programming, however, two breezed through Chicago on Wednesday. They offered an object lesson in why some duos thrive while others stagnate, for the duos represented opposite ends of the artistic spectrum--one brilliant, the other very nearly somnambulant.
Chicagoans will remember reedist Trevor Watts from earlier performances with his Moire Music Group, a kinetic large unit that eloquently merged African and Middle Eastern musical language.
This time, playing at HotHouse, Watts shared the stage with percussionist Jamie Harris. In many ways, their work represented an ideal of duo playing, for their dialogues conveyed tremendous energy while taking listeners into alluringly unfamiliar musical terrain.
Imagine a particularly felicitous merger of post-bebop technique, free-jazz exhortation and non-Western melodic incantation, and you have an idea of Watts' approach to soprano and alto saxophones. Yet whether he leans toward frenetically fast scalar runs or African-inspired, chant-like lines, it was the penetrating quality of his tone that commanded attention. Intense and emotionally unyielding, fusing blues-based timbres with extraordinarily subtle shadings of pitch and inflection, Watts would be fascinating to hear if he played nothing more than C Major scales. But by bounding from piercing cries in the highest registers of his soprano to buoyantly ricocheting figures in the middle, and long-held, amber tones down below, he acquitted himself as one of the most inventive reed improvisers this side of Roscoe Mitchell.
Better still, he found a keenly sensitive foil in Harris, who played traditional African drums with as much tonal imagination and flexibility of rhythm as his reed counterpart. Coaxing his instrument to sing gently at one moment, pulse aggressively the next, then gather momentum a few beats later, Harris produced solos of remarkable fluidity and grace.
Combine his stylistically far-ranging percussion with Watts' exuberantly inventive reed work, and you had the rare duo in which two players improvise freely yet match each other's expressive thrust.
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Copyright ? 2005, Chicago Tribune
2005-06-16
Jamie & Trevor have been invited to the International Jazz Festival in La Paz, Bolivia that takes place in early September 2005.
2005-06-16
Jamie & Trevor have been invited to the Lima, Peru Jazz Festival which takes place next April 2006.
2005-04-19
Whistling Mule Productions is currently in pre-production for a new world music documentary film to be shot later this year. Working title "The Ever Winding Road" will follow British world music and rhythm legend Trevor Watts and his young percussionist Jamie Harris whilst on a world tour. Starting at the Roaring Hoofs Festival in Mongolia it will document their musical adventures as they work with musicians from all corners of the globe to put together a special world music collaboration tour in Europe 2006. www.theeverwindingroad.com
2005-03-17
The Duo will be touring in Brasil in late July 2005 and have concerts in Sao Paulo, Rio De Janeiro and Buzios amongst the possibility of others. They play in the Bourbon Street club in Sao Paulo on July 19th and are also featured on Jo Soares "chat" show on the same date.
2005-02-10
Trevor Watts is featured in a new publication called "Conversations In British Jazz" by author Mike Pearson. Interviews and essays with some of the greatest players in U.K. Jazz. Can be obtained from; Soundworld Books 10 Baddow Rd Chelmsford. Essex CM2 0DG. England.
2005-02-10
Trevor Watts was featured on Friday 4th Feb 2005 on BBC TV 4's documentary on British Jazz since the War. Probably the most important TV documentary ever made on this music, and featured many innovative musicians on the scene, including Trevor. The series is in three parts.
2004-09-14
3 new mp3 samples recorded for the first CD now available under "music". Check them out! A complete CD will be available in 2005. Watch out for it!
2004-09-13
The Duo`s website is released for preliminary internal review.
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