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

Paul Motian Trio: Bill Evans: Tribute to the Great Post-Bop Pianist

Paul Motian has been a constant and essential feature of the American jazz scene for many years. From his early days as drummer with the Bill Evans Trio through to the mid period of his career, as one third of the Paul Motian Trio he has constantly shown touch and perception in his choice of material and playing partners.

This album, Bill Evans: Tribute to the Great Post-Bop Pianist, rereleased in 1990 on Winter & Winter, when he was approaching his sixtieth birthday marks perhaps a highlight in a career that has many highlights. Drawing on the material of the legendary pianist and melodist, Bill Evans, he has, together with his trio partners, Bill Frisell and Joe Lovano plus bassist Marc Johnson created an album that is excellent and at times sublime.

Given the high standards of playing this group of musicians has been responsible for over the years and add to that the unforgettable and haunting melodies of Bill Evans it is hard to see where this recording could have gone wrong. But what is truly remarkable is that all four musicians have found ways of expanding their past powers of interpretation and unearthed in these nine Evans tunes harmonic possibilities, rhythmic interplay and originality of voice that with lesser musicians could have resulted in a more subdued tribute. Perhaps Motian’s personal experience of playing with Evans brought an element to the sessions that prevented it from simply treading water as the work of four fans.

The only real problem must have been deciding on which Evans songs not to include. There are no real highlights here, as each track is played with such excellence and sensitivity they all stand out. It would be better perhaps to name my favourites. An absolute contender has to be ‘Turn out the Stars’, Joe Lovano floating lovely feathery and melancholy tenor sax over Paul Motian’s ever thoughtful drum and brush work - Bill Frisell’s curious, at times bluesy guitar shapes and Marc Johnson’s bass working off the percussion with a bounce and lightness of touch. ‘Time Remembered’ also stands out. The minor figures, the melody’s downward pull being interpreted with emphasis on its spaces, its sense of loss. The drum and brush work adding a fluid, almost liquid quality, a splash of cymbal here, a rhythmic phrase rising like a wave only to subside. A military style tapping out of beat that falls back into reflection. Again Bill Frisell pulls shapes and lines from his fretboard that have a feel of the blues as well as conventional jazz, even at times a hint of country-western. (a field he was later to explore). Marc Johnson walks and steps though the melody, with a solo that finds hidden harmonics. And Lovano’s tenor sax is perfectly pitched, sweet without being saccharine, expressive without being intrusive. There are other wonderful tracks. ‘Re: Person I knew’, (a great title), played with an engaging and wistful nonchalance, ‘Very Early’ that simply swings. ‘Five’ the most experimental, distorted guitar and passages of free-jazz. ’34. Skidoo’, a playful and uplifting number.

This is an excellent and essential recording. It shows four musicians at their best. The level of interplay and communication is never short of exquisite. It is a worthy tribute to a great musician and a worthy example of four great musicians playing music that is unforgettable and inspiring. Highly recommended.

Copyright (C) Peter Hodgins Nov 2007

Paul Motian Trio: Bill Evans: Tribute to the Great Post-Bop Pianist