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	E.J.N. - PAUL MOTIAN
		Paul Motian was born in Philadelphia in 1931 and from the age of two, he grew up in Providence, Rhode Island.
		Motian mastered the nuances of color, texture and melody that take the function of the drums well beyond that of time and propulsion of the group into the more challenging realms of composition and utilizing space.
		Paul Motian On Broadway (Volumes I, II and III) is Motian's remarkable tribute to the early tradition of jazz, his Electric Bebop Band gives a vivid and electric interpretation of Bebop standards and "Bill Evans" reflects his first trio experience with the Bill Evans trio.
	www.ejn.it /mus/motian.htm (827 words)

	Paul Motian: Rarum XVI
		Paul Motian has proven to be one of jazz music’s most long-lasting drummers, a performer who has never gone out of style quite simply because his style is his own and is never like anyone else’s.
		Since Motian developed much of his style and certainly his conception of what the jazz trio was and could do with pianist Bill Evans, it seems only natural that many of Motian’s greatest collaborations have been with pianists.
		Like all of the work presented on rarum, it is a Paul Motian composition and highlights his very melodic side as well as reminding the listener that this highly interactive drummer is also an excellent composer.
	www.jazzitude.com /rarum_motian.htm (952 words)

	www.jazzweekly.com \| Interviews
		PAUL MOTIAN: (Laughing) Well, I was just realizing also that it has been ten years since I have had the Electric Bebop Band.
		PAUL MOTIAN: (Laughing) I think we are going to do a record, maybe the beginning of the year.
		PAUL MOTIAN: Yeah, he is his own man. He is influenced by Keith a lot, but he doesn't grunt and groan because Keith grunts and groans.
	www.jazzweekly.com /interviews/motian.htm (2565 words)

	Paul Motian: Bill Evans ---Ink Blot Magazine
		Motian is a versatile and subtle drummer who fits well in any musical situation he's involved with.
		During the 70's Motian was a member of Keith Jarrett's American Quartet with Dewey Redman and Charlie Haden as well as working later in the Liberation Music Orchestra.
		The interplay between he and Motian in their duo segment of "Five" is worth repeated listens.
	www.inkblotmagazine.com /rev-archive/Motian.htm (502 words)

	Paul Motian - Wikipedia, the free encyclopedia
		Stephen Paul Motian (born 25 March 1931 in Philadelphia, Pennsylvania and raised in Providence, Rhode Island), is a American jazz drummer, percussionist and composer of Armenian extraction.
		Motian has also become an important composer and band-leader, recording initially for ECM Records in the 1970s and early 1980s, and then subsequently for Soul Note Records, JMT Records, and then Winter and Winter Records.
		Motian's first instrument was the guitar, and he seems to have conserved an affinity for the instrument: in addition to his groups with Frisell, his first two solo albums on ECM featured Sam Brown, and he leads the Electric Bebop Band, featuring two electric guitars.
	en.wikipedia.org /wiki/Paul_Motian (429 words)

	Paul Motian News
		Jazz HQ Pianist Andrew Hill, drummer Paul Motian, and saxophonist Sonny Rollins are among the leading nominees for the Jazz Journalists Association's annual jazz awards, the JJA announced.
		Drummer Paul Motian defines a unique kind of cool among jazz drummers, a sort of Zen nonchalance; he's anti-marching to his own beat.
		Jazz HQ New albums from drummer Paul Motian and pianist Hiromi debuted on the Billboard jazz chart this week at numbers 14 and 15.
	www.topix.net /who/paul-motian (676 words)

	The History of Jazz Music. Paul Motian: biography, discography, review, links
		A breakthrough for Motian's research on sound was represented by Psalm (december 1981), performed by a piano-less quintet featuring saxophonists Joe Lovano and Billy Drewes, bassist Ed Schuller and guitarist Bill Frisell that Motian conducted through graceful and soulful excursions such as Second Hand, Fantasm and Yahllah.
		Motian's melodic flair was now irrepressible, and it erupted with the trio albums that followed, both because Motian was more fully in control of his music and because limiting the group to the interplay between Frisell's guitar (the ebullient persona) and Lovano's saxophone (the subtle persona) actually optimized the pathos of his glossy chamber jazz.
		Motian's trio occasionally returned to form, for example on Trioism (june 1993), containing It Should've Happened A Long Time Ago, and I Have the Room Above Her (april 2004), containing Osmosis Part 1, Harmony and One In Three.
	www.scaruffi.com /jazz/motian.html (459 words)

	Biography - Paul Motian (Bio 758) (Site not responding. Last check: 2007-10-11)
		A masterfully subtle drummer and a superb colorist, Paul Motian is also an advanced improviser and a bandleader with a taste for challenging post-bop.
		Born Stephen Paul Motian in Philadelphia on March 25, 1931, he grew up in Providence and began playing the drums at age 12, eventually touring New England in a swing band.
		In 1963, Motian left Evans' group to join up with Paul Bley for a year or so, and began a long association with Keith Jarrett in 1966, appearing with the pianist's American-based quartet through 1977.
	musicbase.h1.ru /PPB/ppb7/Bio_758.htm (361 words)

	Paul Motian Band: Garden of Eden - PopMatters Music Review
		Then there are drummers like Paul Motian who play their kit with all the romantic self-expression of a pianist, a dancer, or a painter.
		These two numbers set a tone that plays out over the next forty minutes or so in a collection of short tunes between three and five minutes long that never succumb to extended displays of technique, but make succinct statements of intention and end just as the listener is beginning to apprehend their form.
		Motian’s playing is loose and free throughout, seeming to propel the music like breath, an intangible presence that seems to do as much by implication and suggestion as it does by actual application.
	www.popmatters.com /pm/music/reviews/paul_motian_band_garden_of_eden (745 words)

	Amazon.com: Garden of Eden: Music: Paul Motian Band (Site not responding. Last check: 2007-10-11)
		All the tunes -- seven by Motian, and one each by Cardenas and Cheek -- are carefully crafted, and all are fitting to the feel of Motian's band: which has nothing to do with solos or chord changes, and a lot to do with hanging music onto a frame.
		A large part of the genius of this CD is that drummer/leader Paul Motian finds a place for everyone--and not in just some static sense; what I mean is, that all have both an integral and an interesting part to play.
		Amazingly, leader Motian locates the exact right context for each of these strong personalities, discovering a way to integrate their particular genius into the overall soundscape conception, one of languidity not unrelated to that of his previous release, the brilliant I Have the Room Above Her, but surpassing it in nuance and subtlety.
	www.amazon.com /Garden-Eden-Paul-Motian-Band/dp/B000CQQGZU (1756 words)

	Paul Motian: There's a Million Songs Out There
		Motian first came to prominence in the late 1950s as one-third (with bassist Scott LaFaro and pianist Bill Evans) of the great Bill Evans Trio, which upended expectations of just what a jazz piano trio was supposed to do (at this point, however, he had already gigged with Thelonious Monk, Lennie Tristano and George Russell).
		Motian’s done more than any other drummer to change the conception and role of drumming in the jazz framework; his playing is often described as “abstract” or “painterly”—that said, he’s more than capable of swinging mercilessly when he cares to.
		Motian’s trio with guitarist Bill Frisell and saxman Joe Lovano is one of his longstanding groups and the band’s CD I Have the Room Above Her was a ubiquitous presence on just about every jazz publication’s best-of-2005 list.
	www.allaboutjazz.com /php/article.php?id=21536 (6341 words)

	Paul Motian: A Selection from ECM
		Paul Motian (born 1931, Philadelphia) has had a long career and is widely considered one of the most influential modern drummers, accentuating melodic aspects while downplaying timekeeping.
		The Motian compositions are arranged inside the bookends of Crispell, two up front (”Flight of the Bluejay” and “The Storyteller”) and three at the end (”Play,” “The Sunflower,” “Cosmology 1”), with “Cosmology 2” at the very center of the record.
		Motian's sole composition “One In Four” fits the established mood but emphasizes, not surprisingly, the rhythmic, with a section that has a triple feel pulling against another section with a duple feel.
	www.allaboutjazz.com /php/article.php?id=20908 (3503 words)

	The Joe Lovano Story - Part Seven: Paul Motian's World of Music
		In 1981, Joe began playing with Paul Motian, in a Trio that included guitarist Bill Frisell.
		Paul Motian: ”Joe's provided the magic in my bands for over 20 years, he's been a tremendous asset.
		Riding the wave of his European success with Motian, Joe began touring as a leader, just after his first recording, for Soul Note, Tones, Shapes and Colors.
	www.joelovano.com /bio7.php (255 words)

	CD Review of Paul Motian - In TokIo on Winter & Winter @ jazzreview.com
		Drummer Paul Motian has been in some of history’s most cutting-edge jazz bands: Bill Evans, Keith Jarrett, Charlie Haden’s Liberation Music Orchestra, Carla Bley, Paul Bley and Mose Allison.
		This disc marked the 10-year point of this particular Motian combo, a trio with Joe Lovano and Bill Frisell, who’d also played with PM in his Quintet.
		Motian can play drums the way Bill Evans played piano, with amazing dexterity and lyrical grace, and he can and does thunder.
	www.jazzreview.com /cdreview.cfm?ID=7157 (191 words)

	BBC - Jazz Review - Paul Motian, Selected Recordings
		Motian's drumming refuses to restrict itself to mere timekeeping.
		His slightly awkward snare figures punctuate and accelerate, shadowing the contours of the melody at every turn.Without a bass (as in the trio or thehushed melancholia of the Paul Bley group)the kit takes on melodic duties too,as Motian restricts himself to occasional, hushed cymbal caresses or faint wisps of brushed snare.
		Motian's body of work outside ECM is just as impressive, but this album is a timely reminder of the pleasures of his early music and in particular the magical, poised interplay he shared with Bley, Frisell and Lovano.
	www.bbc.co.uk /music/release/25gb (400 words)

	Drummerworld: Paul Motian
		In the mid-1950s, he played with a host of jazz stars including Stan Getz, George Russell and Thelonious Monk, but his major association was with pianist Bill Evans, both in Evans's trio and as a member of other groups, such as the quartet led by clarinettist Tony Scott.
		During the decade he played with Jarrett (1967-76), Motian developed a particular rapport with bassist Charlie Haden, in whose own groups he toured and recorded from time to time, from the 1960s to the 1990s.
		From the late 1970s, Motian has mainly fronted his own groups, ranging from the excitement of his Electric Bebop Band (which pitted two guitarists against a saxophone player, backed by bass and drums) to more conventional jazz trios and quartets.
	www.drummerworld.com /drummers/Paul_Motian.html (247 words)

	Jazzmatazz Review - Paul Motian - Europe
		Throughout the CD, Motian drums in the moment, subtly pushing the band with an irregular pulse rather than a steady beat, using accents and color to propel the music.
		It's not surprising, given the group's name, that some of the tunes on the album use the structure of traditional hard bop—the head of the tune followed by solos and concluding with the head again—but with a twist.
		Europe is an enjoyable, twisty mixture of past, present and future, with enough sonic wrinkles to keep it fresh.
	home.att.net /~jazzmatazz/reviews.p/R0109d.html (379 words)

	Paul Motian: Method Of A Master (Part 1)
		In place of traditional timekeeping patterns were extraordinarily detailed rhythmic phrases alternating with carefully sustained brush strokes and deliberate silences, each phrase simultaneously a response to the phrase preceding it and to Jarrett's piano improvisation, with Motian's performance slowly rising and falling in complexity from the beginning of the piece to it's end.
		To hear Paul Motian play is to enter a highly personal world, a world as demanding of the listener as it is rewarding.
		Motian became a prominent hard-bop stylist in the fifties, and yet has continued growing ever since, becoming a major innovator who helped to create several of the drumming styles of the sixties, and a brilliant bandleader and composer in the seventies and eighties.
	www.chuckbraman.com /Writing/WritingFilesDrumming/Motian1.html (4141 words)

	JR.com: PAUL MOTIAN in Music (Site not responding. Last check: 2007-10-11)
		Personnel: Paul Motian (drums); Bill Frisell (guitar); Lee Konitz (soprano saxophone, alto saxophone); Joe Lovano (tenor saxophone);...
		Personnel: Paul Motian (drums); Joe Lovano, Dewey Redman (tenor saxophone); Geri Allen (piano); Bill Frisell (electric...
		Personnel: Paul Motian (drums, percussion); Charles Brackeen (soprano & tenor saxophone); John Surman (soprano saxophone); Billy Drewes...
	www.jr.com /xs-paul-motian-in-music--ap!t;nn!711009.html (269 words)

	Paul Motian: Recordings & Reactions
		Paul Motian did not begin his career as a musical innovator, however, but as a stylist who by the mid-1950s had thoroughly assimilated the vocabularies of his drumming idols Max Roach, Philly Joe Jones and Kenny Clarke.
		Another aspect of Motian's style that emerged in the Evans trio, particularly during ballads, was his interest in creating a variety of contrasting tone colors and textures.
		By the mid-sixties Motian's interest in his role as a colorist and his highly interactive, non-repetitive style led him into involvement with the jazz avant-garde.
	www.chuckbraman.com /Writing/WritingFilesDrumming/Motian3.html (3752 words)

	MP3 Downloads - Music Downloads - Music Videos
		Having been Bill Evans' drummer during the pianist's prime, early-'60s period, Paul Motian is the right person to record a Evans' tribute album; a recording that fits right in with Motian's recent spate of jazz repertory releases (Monk In Motian, the On Broadway series).
		And being sensitive to Evans' subtle and intimate piano style, the group opt for a fairly straightforward tonal attack: Frisell forgoes his usual, hyper-eclectic approach for some unadorned jazz soloing, while Lovano sticks to the middle register of his horn.
		Motian for his part keeps the swing supple enough to be unobtrusive, while adding choice accents throughout.
	www.mp3.com /albums/111210/summary.html (424 words)

	The Austin Chronicle Music: Review - Tethered Moon Chansons de Edith Piaf (Winter & Winter) / Paul Motian & the ...
		The French chanson is the stuff of high drama, evocative to the extreme, with a minor/major key duality that's symbolic of a divided post-war Europe.
		Tethered Moon, in their short time together, remain an exciting modernist combustion; Kikuchi is in the forefront, yet much is due to Paul Motian's unpredictable and innately musical approach.
		Motian is not only in demand as a player, but continues to lead his own endeavors.
	www.austinchronicle.com /gyrobase/Issue/review?oid=oid:74638 (446 words)

	CD Review: Paul Motian - Garden of Eden @ Blogcritics.org
		The release of Garden Of Eden brings the count of records featuring Motian's work to four, previous albums being I Have The Room Above Her, Bobo Stenson's Goodbye, and Enrico Rava's Tati.
		In Motian's case, time is kept as an unseen border, a sort of musical spline finding its way through the other elements.
		Paul Motian's Garden of Eden is the kind of record to be played for the skeptical, "there's nothing good out there anymore" type.
	blogcritics.org /archives/2006/02/15/110738.php (1804 words)

	Jazz CDs Pt. 1- AUDIOPHILE AUDITION
		Paul Motian – I Have The Room Above Her / Paul Motian, drums; with Bill Frisell, guitar; Joe Lovano, tenor saxophone / ECM Records ECM 1902
		After my only partially satisfactory experience with the other disc Bill Frisell was involved with in my reviews this month, I approached this new ECM disc with some caution; however, it’s drummer Paul Motian’s party, and I’ve generally loved his work.
		All lovingly anchored by the trademark cymbal and brushwork that Paul Motian first gained attention for with his excellent work as a member of the Bill Evans Trio.
	www.audaud.com /audaud/APR05/jazz/jazz1.html (2388 words)

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