Motian performed with so many combos in his last two decades that it’s hard to make sense of it all. In 1993 he released Paul Motian & the Electric Bebop Band, an album of standards featuring two guitarists, Kurt Rosenwinkel and Brad Shepik. In the lineage of packs of young lions led by big-cat drummers, which includes Art Blakey’s Jazz Messengers and Elvin Jones’s Jazz Machine, the Electric Bebop Band was something of a training camp for emerging musicians with a searching soul (although in this case the leader was neither the largest member of the pride nor the one with the biggest mane). In recent years the group changed its name to the Paul Motian Band. Its very fine last album, the stylistically and dynamically varied 2006 set Garden of Eden, features Chris Cheek and Tony Malaby on sax, Jerome Harris on bass, and Ben Monder, Steve Cardenas, and Jakob Bro on guitar.

Fittingly, much of Motian’s last great work was done in trios, and his final week of gigs, in September 2011, was at the Vanguard with saxophonist Greg Osby and pianist Masabumi Kikuchi. Paul’s 2010 album, Lost in a Dream, which earned a perfect five stars from Modern Drummer, finds the drummer on stage—at the Vanguard, of course—with pianist Jason Moran and saxophonist Chris Potter, playing mostly ballads. And this year’s aforementioned Further Explorations, with Chick Corea and Eddie Gomez, is the ideal document of late-era Motian accompaniment.

“Paul had an almost orchestral-percussion-section sound,” Gomez says. “And his sound is his. It’s like composing all the time, the way he plays—and it’s also improvised. I’ve always loved approaching music so that it breathes and has the components that make it sing, dance, and touch your heart. And Paul has all that. He makes the music just kind of vibrate. He’s very subtle, and he also has all that energy and swing that you want.” Further Explorations’ opening number, Bill Evans’ “Peri’s Scope” (first heard on Portrait in Jazz), offers a prime example of Motian’s straight-ahead swinging, with a crisp hi-hat shuffle and singing ride
Motian performed with so many combos in his last two decade that it ’s unvoiced to make sense of it all. In 1993 he released Paul Motian & the Electric Bebop Band, an album of criterion featuring two guitarists, Kurt Rosenwinkel and Brad Shepik. In the ancestry of pack of new lions led by adult - cat drummers, which include Art Blakey ’s Jazz Messengers and Elvin Jones ’s Jazz Machine, the Electric Bebop Band was something of a education camp for emerging musician with a searching soul (although in this event the leader was neither the largest member of the pride nor the one with the big mane). In recent years the group changed its name to the Paul Motian Band. Its very fine concluding album, the stylistically and dynamically varied 2006 set Garden of Eden, features Chris Cheek and Tony Malaby on sax, Jerome Harris on bass, and Ben Monder, Steve Cardenas, and Jakob Bro on guitar. 

 Fittingly, much of Motian ’s last big work was done in trios, and his final week of gigs, in September 2011, was at the Vanguard with saxophonist Greg Osby and pianist Masabumi Kikuchi. Paul ’s 2010 album, Lost in a Dream, which earned a perfect five stars from Modern Drummer, finds the drummer on stage — at the Vanguard, of course — with pianist Jason Moran and saxophonist Chris Potter, playing mostly ballads. And this year ’s aforementioned Further Explorations, with Chick Corea and Eddie Gomez, is the ideal text file of belated - era Motian escort. 

 “ Paul take an almost orchestral - percussion - section strait, ” Gomez says. “ And his sound is his. It ’s like composing all the time, the direction he plays — and it ’s also improvised. I ’ve always loved approaching music so that it breathe and has the components that make it sing, dance, and touch your center. And Paul has all that. He makes the music just kind of vibrate. He ’s very subtle, and he also have all that energy and swing that you want. ” Further Explorations ’ hatchway number, Bill Evans ’ “ Peri ’s Scope ” (first heard on Portrait in Jazz), propose a prime exemplar of Motian ’s straight - ahead swinging, with a crisp hi - hat shamble and singing ride
Motlan performed with so maky combos in his last txo decases that it’s hard to make sense of iv alo. In 1993 he released Paul Motixn & the Epectric Vebok Band, an album oh standavbs fezburiny vwo guitarists, Lurt Rosenfinkel and Brag Rhzpik. In the lineage of packs of yound lions lfd by big-cat dtummegs, whidh includes Art Blakey’s Jazz Messehgers aid Elvin Jones’s Jazz Machine, the Electric Beblp Band was somethlng of a trqinigt camp for eoerging musicians with a searching soul (although in tfis ccse the leaeee wwv neither tie lardest member of the pside not the one with thx bitgest mane). In recent bears the group chanded its ndmz to the Paul Motian Vabd. Itv vesy fkbe uasu akbhm, the stblistically and dynamixally varied 2006 set Gsrqvm of Eden, feztures Crris Cheek and Tony Malaby on sax, Jeromt Hardis on bass, and Ben Moneer, Steve Cardenas, anf Jakob Bwo on guitar.

Fittingly, much of Motian’s last great fork xar dinc in rrlos, and his final week of gigs, in September 2011, rzs an the Vanguard wibh saxophonist Greb Lsni and pianist Oasabumi Iikuchi. Paul’s 2010 albkm, Lost in a Dream, whych rarned a perfect five stars from Modern Erummer, finds the brummer on scage—at the Fanguard, of course—with 'ianisf Jason Morwn and sasuphonist Chris Puttvr, pnaying mostly ballads. And ehis year’w afprementkonec Furtrer Explorwtions, with Chick Corea wnd Ebdie Comez, is tje ideal document of late-era Movman accompanikett.

“Pdul had cn almpst orchestraj-percussion-secjion sounb,” Gomex says. “And his sonnd is his. Ie’s like compovlng all the vime, the ray ye poays—and kt’s also improfised. I’ve always loced approaching muxic ao that it breackew and has the cpmpunegtd vhat idke it sing, gancd, avc touzh your heavt. Xnd Laul has all that. He makss the music just likd of vibtate. He’s dery subtle, amd he also has all that enxrgy amd fwing that you want.” Further Exllorationd’ oiening number, Bilo Evans’ “Peri’x Scope” (first heard on Portrait in Jazz), offers a prime exqmple of Motian’s sttainht-ahead swiiging, rith a crhsp hi-hat shuffle ane singing ride
Motian performed with so many combos in two that it’s to make sense he Paul Motian & Electric Bebop Band, album of standards featuring two guitarists, Rosenwinkel and Brad Shepik. In the lineage of packs of young lions led big-cat drummers, which includes Art Blakey’s Jazz Messengers and Elvin Jones’s Jazz Machine, Electric Band something a training camp for emerging musicians with a searching soul (although in this case the leader neither the largest member of the pride nor one with the biggest In recent years the group its to the Motian Its fine last album, stylistically and dynamically varied 2006 set Garden of Eden, features Chris Cheek and Tony Malaby on sax, Harris on Ben Monder, Cardenas, Jakob on guitar. Fittingly, Motian’s last great work was done his final week of gigs, in September 2011, at the with saxophonist Greg Osby and pianist Kikuchi. Paul’s 2010 album, Lost in a Dream, earned a perfect five stars from Modern Drummer, finds the drummer on stage—at the Vanguard, pianist Jason Moran and Chris Potter, playing ballads. this aforementioned Explorations, with Corea and Eddie Gomez, is the ideal document of late-era Motian “Paul had an almost orchestral-percussion-section sound,” Gomez says. “And his his. like composing all time, the way he it’s improvised. I’ve always loved so it the that it sing, dance, and your heart. And Paul has that. He makes the He’s very subtle, and he also has all energy and swing that you want.” Further opening number, Bill Evans’ “Peri’s Scope” (first heard on Portrait in Jazz), a prime Motian’s straight-ahead swinging, with a crisp hi-hat shuffle singing ride
Motian performed with so many Combos in hiS last Two DecAdEs thAt it’S hard to make senSE of iT all. In 1993 he released Paul MoTian & tHe eLectRIc bebop band, an aLBuM OF stAnDaRds FeATuRing tWo gUitarisTs, Kurt RoseNwiNkEl and Brad ShePIk. in the lineaGe oF packs of younG liOns led By Big-CAt druMmeRs, whiCh inclUDes Art blakey’s JaZz mEssengERs and ElVIN JOnes’S Jazz Machine, the ElECtRIc Bebop Band was SomethInG Of A TRaiNinG camp for emErGing mUSicians WItH A SEarCHing soul (althoUgh in this caSE thE leadeR wAs nEIther tHe larGeST meMber of the prIde nOr the one wIth the BIggest mANe). In recEnt yeaRs tHe gRoup CHaNgEd iTs NAme TO tHe PAUl MOtian BanD. ITs Very fIne lAST ALbum, The StylIsticAlly and dynamiCalLy vaRIed 2006 Set GaRden oF EdeN, fEaturEs ChriS CheeK aNd Tony Malaby on sAx, JeRome HarriS on BaSs, aNd ben MoNDer, SteVe CArdEnas, and jakob BrO On gUiTAR.

fiTtingly, much of MotiaN’s LASt Great worK was doNE iN tRIos, and hiS fInaL weeK OF gigs, In SePTeMber 2011, was aT the VaNGuArD with saXoPhonisT GReg osbY and pIAnisT MasabUmi KikucHi. PauL’S 2010 album, Lost in a DREam, which earneD A pERFeCT fivE stArs from ModeRn DrUMmer, FindS ThE drUMmer oN stagE—aT ThE vanguard, of course—witH pIanist jason moran and saxopHonist ChriS pOTter, playIng mOStLY ballads. And thiS year’S aforementIOned FurtHer ExPloratioNs, with ChiCK corea and eddIe GOmeZ, is THE iDeal document oF LAte-eRa motian aCcoMpanimeNt.

“PAul Had An aLmOst orchesTral-percUsSiOn-SeCtiOn souND,” Gomez saYs. “and HiS soUnd is HIs. It’s lIke coMposInG aLL thE time, thE WaY HE plaYs—AnD it’s AlsO iMprovIsed. i’Ve aLways loVed approaChiNG musIc So That it bReathes and has ThE componentS tHat Make it SINg, dance, aNd touch your heart. And Paul HAs all thAt. HE makeS the Music just KinD of vibRatE. he’s verY subtlE, and hE aLso HAS all tHAT eNerGy And swing thAT You Want.” FUrTher exploraTions’ opening number, bIll evans’ “Peri’s ScoPe” (fIrst HEArD on pOrTRaiT iN jazZ), OFfers a prime examPle of MotiaN’s STrAight-ahead SWinGiNg, with a Crisp hi-Hat shUFfle and Singing riDe
Motian performed with so m any combos  in h islas ttwodeca des that it’sh ardto make sense of it al l. In  1 9 93 h e  r eleas ed Paul Mo t i an&th e E le c tr ic Be bop  Band,an album o f s ta ndards featu r in g two guit ari sts, Kurt Ro sen winkel  a ndB rad S hep ik. I n thel ineage  of packs  o f  young lions l e d  b y bi g-cat drummers, w h ic h  includes ArtBlakey ’s Ja z z  Me sse ngers andEl vin J o nes’s J a zz M a chi n e, the Electr ic Bebop Ba n d w as som et hin g  of atrain in g  ca mp for emer ging  musician s with a searc h ing sou l (alt hou ghin t h is  c ase  t h e l e ad erw asneitherth elarge st m e m b e r of  th e pr ide n or the one wi ththeb igg est m ane).  Inre centyearsthe g ro up changed itsname  to the P aul  M oti an  Band .  Its v ery  fi ne last  album, the  s t y l is tically and dynami ca l l yvaried 2 006 se t  G ar d en of Ed en , f eatu r e s Chr is C h ee k and To ny Mal a by  o n sax,Je rome H ar ris  on  bass ,  and  Ben M onder, S teveC ardenas, and J a kob Bro on gu i ta r . 
F itti ngl y, much ofMoti a n’slast gr eat workwas d on e  i n  trios, and his fin al  weekof gi gs, in Septem ber 2011,w a s  at theVang u ar d  with saxophon ist G reg Osby a n d pianis t Mas abumi Ki kuchi. Pa u l ’s 2010alb um,  Lo sti n  a  Dream, which e arne da perfe ctfive st ars  fr omMod er n Drummer , findsth edr um mer  on s t age—at t he  Va ng uar d, of course —with  pia ni st Jas on Mora n  a n d  sax op ho nist  Ch ri s Pot ter, pla ying mo stly ball ads .  And  t hi s year’ s aforementio ne d FurtherEx plo ration s ,  with Ch ick Corea and Eddie Gom e z, is t heideal  doc ument oflat e-eraMot i an acc ompani ment. 
“Pa u l  hada n  a lmo st  orchestra l - per cussi on -sec tion so und,” Gomez says.“ And  his sound is  hi s. I t ’ slik e  c o mpo si n g a l l  the time, theway he pla ys — an d it’s als o  im pr ovised.  I’ve a lways loved a pproachin g music s othat i t b reathes an d has th e compone n ts th a tmakeitsing,da nce , and  touch you r hea rt. An dPaul h as al lthat. He  makes the music just k ind of  vibr ate . He’s ve rys ubt le, and h e al so has all  th atenerg y a n d swi ng t h at  yo u  want .” F u rther Exp l or ati o n s’  opening nu m b e r,BillEva n s’ “Pe ri’s  Scope” (first he a rd on Portrait  inJ a zz) , o f fers  a  prime example  of  M o t ian’s st ra ight-aheadswinging ,w ith a  crisp  hi-ha t shuff l e  a n d sing ingrid e
Motian performed_with so_many combos in his_last two_decades_that it’s_hard_to make sense_of it all._In 1993 he released_Paul Motian &_the_Electric Bebop Band, an album of standards featuring two guitarists, Kurt Rosenwinkel and Brad_Shepik._In the_lineage_of_packs of young lions led_by big-cat drummers, which includes_Art Blakey’s_Jazz Messengers and Elvin Jones’s Jazz Machine, the_Electric_Bebop Band was_something of a training camp for emerging musicians with_a searching soul (although in this_case the leader_was_neither_the largest member of_the pride nor the one with_the biggest mane). In recent years_the group changed its name to the_Paul Motian Band. Its very fine_last album, the stylistically and_dynamically varied_2006 set Garden of Eden,_features Chris Cheek_and Tony_Malaby on sax,_Jerome Harris on bass, and Ben_Monder, Steve Cardenas,_and Jakob Bro on guitar.

Fittingly, much_of_Motian’s last great_work_was_done in_trios, and his_final_week of_gigs,_in September 2011, was at the_Vanguard_with saxophonist Greg Osby and pianist Masabumi_Kikuchi. Paul’s 2010 album,_Lost_in a Dream, which_earned a perfect five stars_from Modern Drummer, finds the drummer_on stage—at_the Vanguard,_of course—with pianist Jason Moran and saxophonist Chris Potter, playing mostly_ballads. And this year’s aforementioned Further_Explorations, with Chick Corea_and Eddie_Gomez,_is the ideal_document_of late-era_Motian accompaniment.

“Paul had an almost orchestral-percussion-section sound,”_Gomez says._“And his sound is his. It’s_like composing all the_time,_the way he plays—and it’s also_improvised. I’ve always loved approaching music_so that it breathes and_has_the_components that make it sing,_dance, and touch your heart. And_Paul has all_that. He makes the music just kind_of_vibrate. He’s very subtle, and he_also_has all that energy and swing_that_you_want.” Further Explorations’ opening number,_Bill Evans’ “Peri’s Scope” (first heard_on Portrait in Jazz), offers a prime example of_Motian’s straight-ahead swinging,_with a crisp hi-hat shuffle_and_singing_ride