Paul Motian Monk

During the 20 years that preceded this set, Paul Motian had led some of the most intriguing jazz groups around. For this project, his "Electric Bebop Band" consists of two tenors (Chris Potter and Chris Cheek), two guitars (Kurt Rosenwinkel and Brad Schoeppach), bassist Steve Swallow, and the leader himself on drums. With the exception of Motian's opening selection and a pair of originals by Rosenwinkel, the repertoire consists of three songs by Thelonious Monk and one tune apiece from Bud Powell, Miles Davis, George Shearing, Charlie Parker, and Rodgers & Hart. Essentially a straight-ahead bebop date, the most unusual aspect of the set (which unfortunately has no liner notes, so individual soloists are not identified) is that there are many sections where two different players solo together…

Paul Motian - The Complete Remastered Recordings on Black Saint & Soul Note (2010) {6CD Set CAM Jazz BXS 1008}
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© 2010 CAM Jazz / Black Saint / Soul Note | BXS 1008
Jazz / Post Bop / Drums

THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE is a monographic box-set collection aimed at recounting the most beautiful chapters that revolutionised the history of jazz.
This new series was launched in March 2010 with the simultaneous release of four box-sets, including albums by some of the artists who participated in the success of the outstanding labels. A philological work, beginning with the original recordings on multi-track master tapes, patiently integrally remastered paying strict attention to the sound quality.

Paul Motian - Bill Evans (1990) {JMT ‎834 445-2}
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© 1990 JMT / Polydor K.K. Japan | ‎834 445-2
Jazz / Post Bop / Drums

Having been Bill Evans' drummer during the pianist's prime early-'60s period, Paul Motian is the right person to record an Evans tribute album, a recording that fits right in with Motian's spate of jazz repertory releases (Monk in Motian, the On Broadway series). But the obligatory nature of the record ends there, as Motian, tenor saxophonist Joe Lovano, guitarist Bill Frisell, and bassist Marc Johnson turn in an innovative set, using Evans' rich harmonic and rhythmic structures to launch many inspired solos.

Drummer Paul Motian leads a septet here with saxophonists Chris Cheek and Tony Malaby (the tenor tandem of Charlie Haden's Not in Our Name) and three guitarists—-Steve Cardenas, Ben Monder, and Jakob Bro—-along with Jerome Harris on bass. It's almost as if Motian has multiplied his usual all-star trio with Joe Lovano and Bill Frisell, most recently heard on I Have the Room above Her.

It’s not every jazz musician who doubles on guitar and oud (the centuries-old Middle Eastern forerunner of the mandolin), but Gordon Grdina makes the combination work. He brought 14 difficult originals to the studio for a recording session with veterans Gary Peacock and Paul Motian, drawing on his interest in blending elements of Arabic music and various jazz genres. When Grdina is playing oud, the songs often seem like they evolved spontaneously in the studio, especially the meandering “Platform” and the dark “Renunciation.” On guitar, Grdina’s gift for spaciousness and lyricism in the longing “Distant” sounds reminiscent of Jim Hall. The brooding “Cobble Hill” is another striking performance. While Peacock and Motian had their work cut out for them engaging this music, they provide terrific interaction with Gordon Grdina throughout the sessions.

This live 1995 recording from New York's Village Vanguard club features drummer Paul Motian, guitarist Bill Frisell, and tenor saxophonist Joe Lovano turning in a stellar set of jazz covers and Motian originals (this is the same trio the drummer led in the late '80s and recorded high-profile tributes to Bill Evans, Thelonious Monk, and Tin Pan Alley with). As the premium sound quality of the recording makes clear, this trio had an almost telepathic rapport on stage, inspiring each other in both ensemble playing and solo flights.

We should always be grateful for music that's greater than the sum of its parts, and here's a case in point: a guitar trio that covers a whole lot of ground in celebrating the timeless virtues of subtle, intuitive interplay—and celebrates the eternal joy of conclusively making its point without raising its collective voice.....