"I’m an Analog Man in a digital world," says Ernie Watts New Release Keeps Focus on Acoustic Quartet. “Analog Man” is the latest recording from Grammy-winning saxophonist Ernie Watts, and continues to clearly display Watts’ musical direction. The artist developed his own creative palette inspired by the quartets and quintets experimenting with new harmonies and rhythms that emerged after World War II. "When I listened to the groups of Miles and Art Blakey recorded in the late 50s, I heard the exploration of the individuals, and wanted to continue that tradition," explains Watts. “Analog Man” will be released on November 9, 2007 via Laika Records (catalog #3510234.2), distributed by Rough Trade in Germany, Austria and Switzerland, www.laika-records.com.

Watts’ own examination of musical genres and high-tech gear always brought him back to acoustic jazz. "A lot of today’s music uses electronics and special effects. I prefer to explore new ground through intensity of musical focus,” says Watts.

The first track, Analog Man starts with a funky hard-bop groove reminiscent of Benny Golson’s "Killer Joe." Watts returns to soprano on this album, blending with Christof Sänger’s piano on Sänger’s elegant Paseando. The quartet continues to swing on Clinton Parkview (written by François Moutin) and speaks the blues on Watts’ original Gee Baby. Victor Feldman´s classic Joshua demonstrates the ongoing dialog among the musicians, a cohesive group of outstanding players who have been his European quartet since 1999. On Elements, he trades lines with drummer Heinrich Köbberling, capturing the explosive improvisation of a live performance. Watts’ warm signature tone complements an instrumental version of Rickie Lee Jones’ lovely ballad Company. "When I first heard Dianne Reeves sing ‘Company’ I couldn´t get the melody out of my mind, and knew it was a tune I wanted to record," recalls Watts. The CD closes with another original, Morning Prayer, a meditative piece melding tenor and Burmese Temple Bell, the sole instruments on the track.

The material was fully developed while the quartet was on its regular fall tour and then recorded at Topaz Studios in Köln, Germany. In addition to Sänger on piano and Köbberling on drums, the quartet is completed by Rudi Engel on bass.