Reviewed by Keith Henry Brown

When you’re dealing with the Marsalis boys, you best come correct. Jeff Watts has indeed come correct, probably in more ways than either of the Marsalis brothers could have dreamed.

The guy’s as close to a modern jazz icon as you’re going to get: call him the Elvin Jones of the nineties. Possessing a personal style that’s hard to miss, Watts also exhibits a chameleon like versatility that’s found him playing with everybody from McCoy Tyner to Danilo Perez to Kenny Garrett, Geri Allen to Michael Brecker and Ravi Coltrane. The finest artists seek him out because the guy can seemingly do anything. And still sound like Tain.

After a stint with the mannered yet swinging Wynton Marsalis band, Watts joined brother Branford ‘s freer, more challenging quintet in 1989. The challenge ended when Watts opted to follow Marsalis to Hollywood as part of the house band on The Tonight Show. After the gig ended, Watts stayed with Marsalis, but bounced around with diverse artists like Garrett, Perez and Coltrane , further enhancing his abilities.

Citizen Tain is actually Watts’ sophomore effort as a leader, having released Megawatts back in ’91 on the small Sunnyside label. A strong debut, all the elements were already in place. The album featured an affecting performance of Wayne Shorter’s “Black Nile” as well as Keith Jarrett’s “Rainbow”. One original from that album, ”The Impaler”, shows up as the album opener on Citizen Tain. Based on an old Ohio Players riff, the cut brings together the Marsalis brothers the first time since Branford’s The Beautyful Ones Are Not Yet Born album in 1991. Wynton’s playing on the tune is inspired, adding to an already smokin' cut that boasts an Afro-Cuban flavor. The late, great pianist Kenny Kirkland, Watts’ friend and collaborator, shows up on virtually every track on the album and provides structure to an almost all- original set. “Muphkin Man” suggests Thelonious Monk with its barbed melody. A trio outing, bassist Reginald Veal steps forward, providing solid backing and a warm solo. “Attainment” opens with a well realized drum solo before Branford’s beautiful tenor lays out the melody. And Paul Motian’s “Trieste” features fine brushwork along with a gorgeous soprano performance by Branford.

Compositionally, Watts’ writing suggests the influence of different musicians he’s played with throughout his career, as well as early jazz drummers like Ed Blackwell, and the aforementioned Jones. Yet Watts’ record does’nt seem to exist just to show what a versatile drummer he is. It’s a labor of love, and a happy reunion among longtime friends.