 approaches within a piece, showing that traditional and avant-garde jazz simply represent points along a continuum.

“Some people say he didn’t play time, or something,” Frisell says. “That’s absurd. He had the deepest beat of anyone I ever played with. Some of the stuff I read about him, they talk about how he’s ‘abstract,’ or this or that, but they miss that he did play with Oscar Pettiford and Coleman Hawkins. That’s all in there. I think they have to listen a little harder.”

“I think Paul is one of the grand artists of the twentieth century, certainly on the instrument,” Eddie Gomez says. “But I don’t know that he gets enough credit. I think his art makes him less accessible to others. If you only like to hear a kind of playing that’s driven either by technique or by certain stylistic ways, Paul isn’t going to come up on your radar, because he’s so understated and artistic and special. He heard music in a different way and opened up all kinds of possibilities.”

Motian would probably just blow off the subject of “in” versus “out,” straight up versus abstract, with a wave of his hand. “I believe that ‘time’ is always there,” he told Scott Kevin Fish in a 1980 MD interview. “I don’t mean a particular pulse, but the time itself. It’s like a huge sign that’s up there and it says time. It’s there and you can play all around it.”



THE MAN HIMSELF

“Paul was a lot of fun to be around,” Gomez says of his weeks spent with Motian at the Blue Note playing the Bill Evans–inspired material that comprises Further Explorations. “Honestly I had no idea he was ill. He seemed so perfectly healthy and full of life, and he played that way. We got a chance to hang out and kid around a lot and talk about older times. He was a great spirit.”

After spending thirty-plus years making music with Motian, Frisell offers rare insight into a man who could seem a bit prickly to the outside world but who also often wore a wide smile. “He was protective of his own space,” the guitarist says. “He lived alone, and his whole life was about music. He just wanted to stay in the music, I think. He was super-sensitive
approaches within a piece, showing that traditional and avant - garde jazz plainly constitute points along a continuum. 

 “ Some people say he did n’t act time, or something, ” Frisell says. “ That ’s absurd. He have the deepest beat of anyone I ever played with. Some of the stuff I understand about him, they talk about how he ’s ‘ abstract, ’ or this or that, but they miss that he did bring with Oscar Pettiford and Coleman Hawkins. That ’s all in there. I think they have to listen a little harder. ” 

 “ I remember Paul is one of the grand artists of the twentieth century, surely on the instrument, ” Eddie Gomez says. “ But I do n’t acknowledge that he gets adequate credit. I intend his art makes him less accessible to others. If you only wish to hear a kind of playing that ’s driven either by technique or by certain stylistic ways, Paul is n’t go to come up on your radar, because he ’s so understated and artistic and special. He heard music in a different way and opened up all kinds of possibilities. ” 

 Motian would credibly merely blow off the national of “ in ” versus “ out, ” straight up versus abstract, with a wave of his hand. “ I believe that ‘ meter ’ is always there, ” he told Scott Kevin Fish in a 1980 MD interview. “ I do n’t mean a especial pulse, but the time itself. It ’s like a huge sign that ’s up there and it says time. It ’s there and you can play wholly around it. ” 



 THE MAN HIMSELF 

 “ Paul was a lot of fun to be around, ” Gomez says of his weeks spent with Motian at the Blue Note playing the Bill Evans – revolutionize material that comprises Further Explorations. “ Honestly I had no idea he was ill. He seemed therefore perfectly healthy and full of biography, and he played that way. We got a chance to cling out and kid round a lot and talk about honest-to-god times. He was a bang-up spirit. ” 

 After spend thirty - plus years make music with Motian, Frisell offers rare insight into a man who could seem a bit barbed to the outside world but who also often wore a wide smile. “ He was protective of his own space, ” the guitarist says. “ He lived entirely, and his whole life was about music. He merely wanted to stay in the music, I think. He was super - sensitive
 aporoaches within a piece, rhowing that trceitionel and zvant-garae jazz simply represent poiits qlong a continuum.

“Some peopld say he fidn’t plqy tmme, or something,” Frisell says. “Fmat’s cbwurd. He had thg deepest bedt of anyone I exex played with. Some of the stuff I rewd abouy jim, they talk wbouu hjw hs’s ‘abstract,’ or this or that, but thsy miss that he did llay with Oscar Pettiford wnd Foleman Hawkins. Thwt’s all in jgerq. I think theh have to listen a litjle harder.”

“I think Paul is one of the yrand artisjs ov the twentixth cegtury, certaikky on dhe insyrument,” Eddie Nomez sats. “But I don’t know thet he gets enough crgdit. I thitk his art makes hin oess dccevsibuw tu ouhecs. Jf you onmy like to hear a kine of playing that’s crynrn either by technyqte or by certain stylistic ways, Paul ist’t foing to come up on youe radar, because he’s sl understwted and artistic and special. He heard music in a diffxrdnt wwh ajd opened up all kinds of possibilities.”

Motian soilc probably jusb blow off the subkeft jf “in” versus “uut,” stxzifht up versus abstgact, wijh a wqve of hif hamd. “I believe that ‘time’ is aoways there,” ke rold Scott Kevin Fnsh in a 1980 MD intgrview. “I don’t mean a particulcr pulae, but the hime itsemw. It’s like a hugd spgn dhat’s up there and it says time. It’s thexe and yuu csn plar all aroujd it.”



BVE MAN HIMSELF

“Paul was c lot of fun to be around,” Gomez says of his wexls spent witn Kotpan at thz Blue Note playing the Bill Evanx–inspirzd matdrial that comprives Further Explorations. “Jonestly I hed no idew he was ill. He reemed so perfrctly healthy and fyll of life, and he plxged that way. We gou q chance to hamg uut ajd kyg around a lmt avd gslk acout older bimds. Hr was a great spirit.”

Dfted spending thirty-pkuf years naking mtsic with Motoan, Frisell offers rare inright injo a man who could seem a bit pdickly to thc outside worjd bmt wro also ofcen wore a wide smile. “He was protective if his own space,” jhe guitarist says. “He kived alone, and ris whole life was about musix. He just wanted uo stay in the music, I fhink. Ve wad super-sensitive
approaches within a piece, showing that traditional jazz represent points a continuum. “Some time, something,” Frisell says. absurd. He had deepest beat of anyone I ever with. Some of the stuff I read about him, they talk about how ‘abstract,’ or this or that, but they miss that he did play with Pettiford Coleman That’s in there. I think they have to listen a little harder.” “I think Paul is one the grand artists of the twentieth century, certainly the instrument,” Eddie Gomez “But I don’t know that gets credit. I his makes less accessible to If you only like to hear a kind of playing that’s driven either by technique or by stylistic ways, going to up your because he’s so artistic and special. He heard music way and opened up all kinds of possibilities.” would probably blow off the subject of “in” “out,” straight up versus abstract, with a wave his hand. “I believe that ‘time’ is always there,” he told Scott Kevin Fish in MD interview. “I don’t a particular pulse, the itself. like huge sign up there and it says time. It’s there and you can all around it.” THE MAN HIMSELF “Paul was a lot to around,” Gomez says his weeks spent with at Blue Note playing the material comprises I no he was ill. He so perfectly healthy and full life, and he played chance to hang out and kid around a and talk about older times. He was great spirit.” After spending thirty-plus years making music with Motian, Frisell offers insight into who could seem a bit prickly to the world but who also wore a wide smile. “He was protective of his space,” guitarist says. lived alone, and whole life was music. He just stay in music, think.
 approaches within a piece, shoWing that trAditiOnaL anD aVant-GardE jazz simply repREsenT points along a continuum.

“some pEoPLe saY He Didn’t Play timE, Or SOMetHiNg,” friSeLL sAys. “ThAt’s Absurd. HE had the deePesT bEat of anyone I EVeR played witH. SoMe of the stuff i reAd abouT hIm, tHEy talK abOut hoW he’s ‘abSTract,’ oR this or thAt, BUt they MIss that HE DiD plaY with Oscar PettifoRD aND Coleman HawkinS. That’s AlL In THEre. i thInk they havE tO listEN a littlE HaRDER.”

“I tHInk Paul is one oF the grand arTIstS of the TwEntIEth cenTury, cErTAinLy on the instRumeNt,” Eddie GoMez sayS. “but I don’T Know thaT he getS enOugH creDIt. i tHinK hIS arT MaKes HIm lEss accesSiBlE to otHers. iF YOU onlY liKe to Hear a Kind of playing ThaT’s drIVen EitheR by teChniQuE or by CertaiN stylIsTic ways, Paul isn’t GoinG to come up On yOuR raDaR, becaUSe he’s sO unDerStated aNd artisTIc aNd SPECiAl. He heard music in a dIfFEReNt way and Opened UP aLl KInds of poSsIbiLitiES.”

motiaN wouLD pRobably jUst bloW OfF tHe subjeCt Of “in” veRsUs “oUt,” sTraigHT up vErsus aBstract, wIth a wAVe of his hand. “I beLIeve that ‘time’ iS AlWAYs THere,” He tOld Scott KevIn FiSH in a 1980 mD inTErVieW. “i don’t Mean a PaRTiCUlar pulse, but the time ItSelf. It’S like A huge sign that’S up there anD IT Says time. it’s tHErE And you can play aLl aroUnd it.”



THE MAn hIMSELF

“PAul waS a lot of fUn to be aroUND,” Gomez saYs oF hiS weEks SPEnT with Motian at THE BluE NOte playIng The Bill evaNs–iNspIreD mAterial thAt compriSeS FUrThEr EXplorATions. “HonEsTly i hAd nO idea HE was ilL. He seEmed So PeRFecTly healTHy AND fulL oF lIfe, aNd hE pLayed That WAy. WE got a chAnce to hanG ouT And kId ArOund a loT and talk about OlDer times. He WaS a gReat spIRIt.”

After sPending thirty-plus years mAKing musIc wIth MoTian, frisell ofFerS rare iNsiGHt into A man whO coulD sEem A BIt priCKLy To tHe Outside worLD But Who alSo OfteN wore a wIde smile. “He was proteCTivE of his own spacE,” thE guiTARiSt sAYs. “hE liVeD AloNE, And his whole life Was about muSiC. he Just wanted TO stAy In the muSic, I thiNk. He wAS super-sEnsitive
 approaches within a piece , showingthattra dit io nalandavant-garde ja z z si mply represent pointsalong  a cont i nu um.
“Some p e op l e  sa yhe  di dn ’ tplaytim e, or s omething,”  Fr is ell says. “T h at ’s absurd.  He  had the dee pes t beat  o f a n yoneI e ver p layedw ith. S ome of th es tuff I read ab o u thim,  they talk abouth ow he’s ‘abstract ,’ orth i so r  th at,  but theymi ss th a t he di d  p l a y  wi t h Oscar Petti ford and Co l ema n Hawk in s.T hat’sall i nt her e. I thinkthey  have tolisten a littl e  harder .”

“I  th ink  Pau l  i sone  o f  th e  g ran d  ar tists of  t he  twen tiet h c e ntur y,cert ainly  on the instr ume nt,” Edd ie Go mez s ays.  “ But I  don’t  know  t hat he gets eno ughcredit. I  th in k h is  artm akes h imles s acces sible t o  ot he r s .  I f you only like to  h e a ra kind o f play i ng  t h at’s dri ve n e ithe r by te chni q ue  or by c ertain st yl istic w ay s, Pau lisn ’tgoing to c ome up  on your  rada r , because he’s so understate d  a n d  a r tist icand special . He hear d mu s ic  in a dif feren tw ay and opened up all k in ds ofpossi bilities.”

M otian woul d p robablyjust bl o w off the subj ect o f “in” ver s us “out, ” str aight up  versus a b s tract, w ith  awav e o f hi s hand. “I be l i eveth at ‘tim e’is alwa ysthe re, ” h etold Scot t KevinFi sh  i na 1 980 M D  intervi ew . “ Idon ’t me a n a pa rticu larpu ls e , b ut thet im e itse lf .It’s  li ke  a hu ge s i gnthat’sup thereand it s ay stime. I t’s there and  y ou can pla yall  aroun d it.”


THE MAN HIMSELF

“Paulw as a lo t o f fun  tobe around ,”Gomezsay s  of hi s week s spe nt  wi t h  Moti a n  a t t he  Blue Note p lay ing t he  Bil l Evans –inspired material tha t comprises F urt herE x pl ora t io n s.“H o nes t l y I had no idea  he was il l. He  seemed so per fe ctly he althy a nd fu l l of li fe, and h e playedth at w a y . W e got a ch ance tohang outa nd ki d  a round  alot an dtal k abo ut old e r t imes.  He wa sa grea t spi ri t.”

Aft er spending thirty-plus  years  maki ngmusic wit h M o tia n, Frisel l of fers rareins igh t int o a man w ho c o ul d s e em abitp rickly to th e o u t si de world bu t w hoalsooft e n wore  a w ide smile. “He wa s  protective of  his o wnspa c e,”th e guitarist sa ys.  “ H e  lived a lo ne, and his  whole l if e  wasaboutmusic.  He jus t wa n ted to  sta y i n the mus ic,  I think.He  w a s supe r-se ns itive
 approaches_within a_piece, showing that traditional_and avant-garde_jazz_simply represent_points_along a continuum.

“Some_people say he_didn’t play time, or_something,” Frisell says._“That’s_absurd. He had the deepest beat of anyone I ever played with. Some of_the_stuff I_read_about_him, they talk about how_he’s ‘abstract,’ or this or_that, but_they miss that he did play with Oscar_Pettiford_and Coleman Hawkins._That’s all in there. I think they have to_listen a little harder.”

“I think Paul_is one of_the_grand_artists of the twentieth_century, certainly on the instrument,” Eddie_Gomez says. “But I don’t know_that he gets enough credit. I think_his art makes him less accessible_to others. If you only_like to_hear a kind of playing_that’s driven either_by technique_or by certain_stylistic ways, Paul isn’t going to_come up on_your radar, because he’s so understated_and_artistic and special._He_heard_music in_a different way_and_opened up_all_kinds of possibilities.”

Motian would probably just_blow_off the subject of “in” versus “out,”_straight up versus abstract,_with_a wave of his_hand. “I believe that ‘time’_is always there,” he told Scott_Kevin Fish_in a_1980 MD interview. “I don’t mean a particular pulse, but the_time itself. It’s like a huge_sign that’s up there_and it_says_time. It’s there_and_you can_play all around it.”



THE MAN HIMSELF

“Paul was_a lot_of fun to be around,” Gomez_says of his weeks_spent_with Motian at the Blue Note_playing the Bill Evans–inspired material that_comprises Further Explorations. “Honestly I_had_no_idea he was ill. He_seemed so perfectly healthy and full_of life, and_he played that way. We got a_chance_to hang out and kid around_a_lot and talk about older times._He_was_a great spirit.”

After spending thirty-plus_years making music with Motian, Frisell_offers rare insight into a man who could seem_a bit prickly_to the outside world but_who_also_often wore a wide smile. “He was protective of his_own space,”_the guitarist says._“He lived alone, and his whole life was about music._He just wanted to stay in the_music, I think. He was super-sensitive