I must confess that as far as I’m concerned the pianist Eric Watson is a very recent discovery. I first heard him on the ACT sampler album “Visions Of Jazz” which was reviewed a short while ago. Watson’s contribution to that album the pounding and hypnotic “New York Moxie” was one of that album’s highlights and seemed to reveal a major talent that I had somehow managed to overlook - and I’m sure I’m not the only one to have missed out.

Ex- patriate American Watson has lived in Paris for many years and although relatively unknown in his homeland and in the UK he is an important and highly regarded figure on the French jazz scene. He has won numerous awards in his adopted country and is also a respected educator. Watson has recorded with top Americans such as drummers Paul Motian and Ed Thigpen, and also with saxophonist Steve Lacy who was a major influence on him. More recently he was worked with saxophonist Christof Lauer, recording the quartet album “Road Movies” for ACT in 2004.

“Jaded Angels” finds him in the company of the same musicians that played on “New York Moxie”. Austrian bassist Peter Herbert now lives in Paris and is also a player who commands a huge respect amongst his peers. Herbert has appeared on over 80 albums with a wide variety of artists ranging from Paul Simon to British jazz artists such as Tony Coe, Christine Tobin and Huw Warren.

Drummer Christophe Marguet has worked with Watson for over five years. In addition to being one of the most highly regarded drummers in France he is also a talented composer and leads his own groups.

In the main “Jaded Angels” finds the trio in a more subdued mood than on the groove based “Moxie”. In a programme of Watson originals most of the album is played at ballad tempo. However, the trio is always probing and exploring and the level interaction between the players is extraordinary. You can almost hear them thinking. The music seems to unfold organically and there are many moments of genuine beauty. Watson’s improvisations are complex but his music is based on melody and it never becomes “difficult”. Much of the credit for this lies with Watson’s compositions and the undoubted skill and sheer musicality of the players, but the high quality of the recording (something of an ACT trademark) is also a significant factor.

It is surprising that Watson is not more widely known outside France. On the evidence of this album his abilities are at least equal to those of more celebrated figures such as Brad Mehldau. Herbert too, is a master of his craft. He is a sensitive accompanist and an extraordinarily fluent soloist and is given ample opportunity to demonstrate his abilities. Marguet’s drumming is never superficial or flashy and he too is on the ball throughout, at times tenderly embellishing the music in the thoughtful manner of Jon Christensen.

The adjective “crystalline” has been used to describe Watson’s playing and this is particularly apposite on tracks such as “Fallen Angels”,“Ice Lady” and “Consolation”.

However, the trio bare their teeth on the lengthy “Dice In The Sky” with its dense clusters of notes. Watson comes on like a more melodic Cecil Taylor as Herbert and Marguet kick off the shackles and brew up a storm behind him. Its an exhilarating roller coaster ride and makes an interesting contrast with the more reflective material heard elsewhere on the album.

In an era when the piano trio is a particularly popular vehicle for creative expression Watson’s album rates right up there with the best of them. His compositions are engaging, the improvisations are fascinating and the standard of musicianship is superb. “Jaded Angels” is one of the most satisfying albums I’ve heard in this format. It deserves to do well and hopefully will raise Watson’s profile in this country.

Watson should be well worth catching should he make any live appearances in the U.K.

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