Paul Motian Band: Garden of Eden.
At 75, it is perhaps indicative of the dedication and passion of Paul Motian that he is still producing excellent and original music. There is something uplifting about the fact, reminiscent of great artists such as Matisse or Picasso, whose desire to share their vision kept them going right into their eighties. The prefect antidote to today’s obsession with youth and triviality.
Garden of Eden, (ECM – 2004), is an excellent example of a master at work. Music that explores its own history while remaining contemporary and open to ideas. For this outing Paul Motian has drawn on musicians that embody a wide range of experience. Chris Creek and Tony Malaby on saxophones, (alto and tenor), the young Dane, Jakob Bro, Steve Cardenas and Ben Monder on guitars, while on electric bass, is Sonny Rollins sideman and talent in his own right, Jerome Harris.
The album is a mix of classic jazz and self-penned compositions. A couple of numbers from Charles Mingus, ‘Pithecanthropus Erectus’ and ‘Goodbye Pork Pie Hat’, Thelonius Monk’s ‘Evidence’ and a glorious take of Charlie Parker’s ‘Cheryl’. Elsewhere there are contributions from Paul Motian himself, ‘Etude’, ‘Mesmer’, ‘Mumbo Jumbo’. ‘Endless’, ‘Prelude 2 Narcissus’, ‘Manhattan Melodrama’ and the title track ‘Garden of Eden’. American guitarist, Steve Cardenas, contributes ‘Balata’ and there is one standard, Jerome Kern’s ‘Bill’.
With six musicians you could be forgiven for wondering if this recording would not sound cluttered and over busy. Yet while warm and full, it pays plenty of attention to space, seemingly working from the premise that, ‘more is less’. The inclusion of three guitars particularly could be problematic, but they resolve their differences and provide plenty of subtle and intelligent play. Allowing each other the room to step up, then falling back when required. As with the saxophones. At times they provide a band-style accompaniment, then break and soar with some fine playing and improvisation.
Most successful tracks have to be ‘Pithecanthropus Erectus’, ‘Etude’, (a lovely, moody piece of music), ‘Mumbo Jumbo’ and ‘Desert Dream’, (fine guitar work on both), ‘Bill’ (an excellent and lyrical interpretation), ‘Garden of Eden’, (classic Motian, the drum work, guitars and saxophones painting the music in with deft strokes) and the before mentioned ‘Cheryl’. These are my personal choices. No doubt you will have your favourites.
Special mention should go to Jerome Harris. He plays the electric bass soulfully and inventively, his phrasing always original and moving. In fact if I have one quibble with this recording, it is that his work is sometimes a little lost in the mix.
Tagged as ‘central to what jazz is becoming’ and probably correct in that assertion, Garden of Eden is another gem from Paul Motian.
Copyright (C) Peter Hodgins Nov 2007
Paul Motian Band: Garden of Eden. BUY
Garden of Eden, (ECM – 2004), is an excellent example of a master at work. Music that explores its own history while remaining contemporary and open to ideas. For this outing Paul Motian has drawn on musicians that embody a wide range of experience. Chris Creek and Tony Malaby on saxophones, (alto and tenor), the young Dane, Jakob Bro, Steve Cardenas and Ben Monder on guitars, while on electric bass, is Sonny Rollins sideman and talent in his own right, Jerome Harris.
The album is a mix of classic jazz and self-penned compositions. A couple of numbers from Charles Mingus, ‘Pithecanthropus Erectus’ and ‘Goodbye Pork Pie Hat’, Thelonius Monk’s ‘Evidence’ and a glorious take of Charlie Parker’s ‘Cheryl’. Elsewhere there are contributions from Paul Motian himself, ‘Etude’, ‘Mesmer’, ‘Mumbo Jumbo’. ‘Endless’, ‘Prelude 2 Narcissus’, ‘Manhattan Melodrama’ and the title track ‘Garden of Eden’. American guitarist, Steve Cardenas, contributes ‘Balata’ and there is one standard, Jerome Kern’s ‘Bill’.
With six musicians you could be forgiven for wondering if this recording would not sound cluttered and over busy. Yet while warm and full, it pays plenty of attention to space, seemingly working from the premise that, ‘more is less’. The inclusion of three guitars particularly could be problematic, but they resolve their differences and provide plenty of subtle and intelligent play. Allowing each other the room to step up, then falling back when required. As with the saxophones. At times they provide a band-style accompaniment, then break and soar with some fine playing and improvisation.
Most successful tracks have to be ‘Pithecanthropus Erectus’, ‘Etude’, (a lovely, moody piece of music), ‘Mumbo Jumbo’ and ‘Desert Dream’, (fine guitar work on both), ‘Bill’ (an excellent and lyrical interpretation), ‘Garden of Eden’, (classic Motian, the drum work, guitars and saxophones painting the music in with deft strokes) and the before mentioned ‘Cheryl’. These are my personal choices. No doubt you will have your favourites.
Special mention should go to Jerome Harris. He plays the electric bass soulfully and inventively, his phrasing always original and moving. In fact if I have one quibble with this recording, it is that his work is sometimes a little lost in the mix.
Tagged as ‘central to what jazz is becoming’ and probably correct in that assertion, Garden of Eden is another gem from Paul Motian.
Copyright (C) Peter Hodgins Nov 2007
Paul Motian Band: Garden of Eden. BUY
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