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THE

COMPOSITIONS OF PAUL MOTIAN VOLflIE 1

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1989

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r The Compositions of Paul Motian Volume I • 1973—1989 Copyright © 2016 by Cynthia McGuirl Music Rights: Yazgol Music/BMI ISBN: 978-1-940244-75-4 All Rights Reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

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Cover Photograph: © Val Wilmer July 15, 1971 Recording session with Keith Jarrett at Atlantic Studios, NYC Quotes are from Paul Motian’s personal notebooks © Paul Motian Archive For more on Paul Motian, visit: wwwpaulmotianarchive.com Printed in the United States of America

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“I’m discovering the music as I do ii.” Paii/’FIor,an

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INTRODUCTION

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published a songbook during his lifetime. However, he shared his compositions freely with his bandmates and anyone who asked for them. Near the end of his life, one of the things Paul was ada mant about was that I have possession of the file folder that contained his full set of copyrighted songs. I am a visual artist, not a musician. I was struck by the beauty of his compositions: the handwriting, the sirnpliciw the layout.

It is important that the music appears in Paul Motian’s own handwriting. The way he wrote out the music was deliberate, and conveys nuances which would be lost with a mechanized rendering. The connection that will be made between listening to the recordings and seeing the written music is an education that I think is worthwhile. Because Paul’s music can be interpreted in an infinite number of individualized ways, I believe this music can help musicians to push their own boundaries.

After organizing Paul’s copious composition notebooks, I felt that making his written music available to any musician who wanted it should be a priority. I started out by putting all of the finished versions of the songs together. These were gathered from Paul’s notebooks, as well as Bill Prisell’s and Steve Cardenas’s collections. There were often variations in what Paul wrote and rewrote over time. The lead sheets that were the best match to the recorded versions of the songs were chosen for this book. They were lightly edited, but no musical notes or notations were changed.

Over his lifetime, Paul Motian copyrighted 121 songs. Of these. 113 have lead sheets. The other 8 were improvised on the spot and never written down. Volume I includes 64 songs. Five of these songs were played live but never recorded on an album. Volume II will cover 1990 through 2011. Songs that were recorded again after 1989 will also appear in Volume II.

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I hope these songbooks will carry Paul Motian’s music to both current and future jazz players.

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Niece

Cynthia McGuirl Caretaker of Paul Motianc Archive

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school in 1969. That year I went to hear Charles Lloyd’s Quartet in concert. The band was Keith Jarrett on piano, Ron McClure on bass, and Paul Motian on drums. Just months before that I had been to see Jimi Hendrix and James Brown. My mind was being blown. Martin Luther King and Robert Kennedy had been killed and the Viet Nam War was raging. There was much fear and confusion. In music there was clarity, beauty, and hope. Music was where I wanted to be. Back then.. .never in my wildest imagination. ..if you had told me that someday Paul Motian would call me on the phone.. .and that I would spend thirty years playing music with him.. .1 never would have believed you. Sometimes dreams do come true.

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GRADUATED HIGH

What a privilege this has been. I met Paul at a time when he had made a strong commitment to writing and develop ing his own music.. .a move away from being a “sideman” to that of a “leader-composer:’ I got to witness first hand his process. I had the chance to play many of his songs in their very early stages and be right there as they came to life. Early on we rehearsed and rehearsed. A lot. First with his quintet and then later as a trio with Joe Lovano. We’d work on arrangements, figure out harmony parts, who played what where, etc. Often I’d arrive early to these rehearsals and he’d show me the tunes.. .listen to me play them alone. He’d make sugges tions. adjustments. He always encouraged me. He had a very clear idea of what he wanted, but at the same time, the songs allowed for.. .gave room for complete personal expression. That seemed to be an important part of what he was looking for in the music.. .that we find our own way. The compositions opened that door. This is a rare thing. .

As time went on we rehearsed less and less... until not at all. Everything happened on the gig. The lines between what was composed and what was improvised became blurred. The playing and writing became one. We had ar rived at a language.

The trio with Joe... no matter how much time had gone by since the last time we’d played.. .whenever we got back together.. .the conversation just picked up where we’d left off. It always felt new. as if it was happening for the very first time. On some of the last recordings we did together as a trio, there were quite a few tunes that we had not seen or played until we got to the studio. What you hear on the record is the song happening for the first time. One or two takes and that was it. It was brave of Paul to put that kind of trust in us. It also showed the strength in what he had written and his belief.., commitment to being in the mo ment. staying spontaneous.. .on the edge. He was able to keep the music at a point where you never quite knew what might happen next. The compositions allowed for this. He demanded it. I remember times early on he’d say to me as I Man! You always was reading through one of the songs it!” What sound better the first time you play a lesson. . .

.

All of Paul’s compositions are unique and can open doors to many wonderful worlds. I’m so thankful they appear here in his own handwriting. I love looking at the original scores of the great composers.. Bach, Beethoven, Thelo nious Monk, Wayne Shorter, etc. A peek into the mystery. Seeing Paul’s hand reveals more of his original intent and shows the care, love, and incredible attention to detail that went into each and every one of these pieces. To say Paul Motian has influenced me... if anyone is at all familiar with what I do.. would be a major understate ment. There is really no way for me to fully express in words the impact he has had on me... and the help and support he has given me (and so many others). The chance. As he was finding his own music he helped me to find mine. I know he would be so happy to know that all this beau tiful music he gave us is out there and continuing to grow. Sincerely, Bill Frisell Musician & Friend

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BIOGRAPHY

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= NE NIGHT in 1957, drummer Art Taylor failed to show up for a Thelonious Monk gig, and a relative unknown sat in his place. Over the next six decades, the promising sideman would evolve into an extraordinary jazz band leader and composer. Stephen Paul Motian (1931—2011) was born in Philadelphia and raised in Providence, Rhode Island, the son of Armenian immigrants from Turkey. Paul grew up poor and became something of a “juvenile delin quent”—he was arrested 3 times before the age of thirteen.

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At the age of twelve, he had his first drum lesson. Later in life, he would credit music with keeping him both alive and out of jail. While in high school, he began playing with local swing bands. He then joined the Navy and began performing in a Naval School of Music Unit Band. He was fortuitously sta tioned in Brooklyn prior to his discharge in 1954, and called New York City home for the rest of his life. Immersed in the 1950s New York jazz scene, he began jamming with niusi cians throughout the city while absorbing the performances of idols like Art Blakey, Max Roach, and Philly Joe Jones. Throughout the 1950s and ‘60s, Paul played with a stag gering number of musicians, including Lennie Tristano, Mose Allison, Oscar Pettiford, Stan Getz, Zoot Sims, Paul Bley, Lee Konitz, and Charles Lloyd. He was always learn ing, both an influence and an influencer. In 1955, he met pianist Bill Evans when they toured together as sidemen for clarinetist Jerry Wald. Five years later, Bill invited Paul and bassist Scott LaFaro to form his first groundbreaking trio. Best known for an extraordinary series of live recordings made at the Village Vanguard in 1961, the group redefined the jazz piano trio as a group of improvisers and equals. In the late 1 960s, Paul began playing with pianist Keith Jarrett, first in a trio with bassist Charlie Haden. and then in Jarrett’s “American Quartet” with the addition of saxo phonist Dewey Redman. They became lifelong friends. Encouraged by Jarrett, who sold him his old piano, Paul be gan composing his own music in the early 1970s. Paul said of learning to play the piano, “I was in my 40s and felt like a school kid With my piano books under my arm, once a month, I would walk the ten blocks to Deborah’s (Greene)

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for my lesson. One day, I glanced down at my hands as I was playing and I didn’t recognize them. It was as if they were the hands of a stranger. They were playing the piano by themselves and playing quite well]’ Paul’s first album as a bandleader. Conception Vessel, was re leased in 1973 and marked the start of a 39-year relationship with the German label ECM. 1984’s It Shozdd’ve Happened a Long Time Ago was Paul’s first record to feature his trio with tenor saxophonist Joe Lovano and guitarist Bill Frisell—a musical partnership that lasted for the rest of Paul’s life. Paul once summed up his career to that point in time: “I was Bill Evan&s drummer in the 1960s, Keith Jarrett’s drummer in the 1970s, and Paul Motian’s drummer in the 1980s2 Over the next twenty years, Paul would revisit his roots in ways that were both new and familiar. In the early 1990s he formed the Electric Bebop Band, giving new life to old bop standards with an electrified lineup of two tenor saxo phones, two guitars, electric bass, and drums. During this time Paul also recorded the On Broadway series, a collec tion of standards from the Great American Songbook. One of Paul’s less-appreciated roles was that of incubator of young talent. His bands served as launching pads for many young and then-unknown jazz performers, includ ing Joshua Redman, Chris Potter, Wolfgang Muthspiel, and Kurt Rosenwinkel to name a few. Along with his music, this is his lasting legacy. Always a maverick in his performances and compositions, the closest thing Paul had to a rule was, as he would of ten say, “Less is more:’ His precision and economy of ex pression were matched by a commitment to creative ex ploration. He was a generous composer in that he was not threatened by, and in fact encouraged, creative freedom and spontaneity in the playing of his works. “I’m not ex actly Cole Porter:’ he once told Modern Drummer with typ ical modesty, “But I generally find what I’m going for:’ David McGuirl Nephew

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“Playing the music is real, physically and whole. Then it’s gone. But it’s still there, in the air, in the mind, it exists. It’s not part of technology, it’s not recorded. It’s part of the soul. It’s there’ Paul Motian

NOTES sheets in this songbook are among the charts that Paul Motian had given to his various bands I throughout the years. Listening to Motian’s recordings reveals how his music comes to life from the written page. ‘VS elements of a song may change in a rehearsal, on a gig or at a recording session. While certain changes or arrangements may be written into a chart by the musicians, those changes don’t necessarily make it back to the original sheet music. Most of Motian’s charts line up with his recordings, but there are a few instances where the written and recorded music differ. The following notes help clarify those differences. HE LEAD

TIME

TUNES WITHOUT LEAD SHEETS

Most of Motian’s music is played out of time, or rubato. The charts that don’t have time signatures or bar lines are among those tunes. In the charts that have time signatures, it’s written on the page if the music is to be played out of time. However, this isn’t indicated on Asia, Drum Music, Étude, Look To The Black Wall, 9 X 9, One Time Out, Portrait OfT., Trieste (Byablue recording), 2 Women Pro in Padua, Victoria, and Waltz Song.

There are four tunes of Motian’s recorded between 1979— 1983 that do not appear in the songbook as they were entirely improvised. These tunes are: Synonym from the album Unexpected by Kenny Davern, Kharma Records, 1978; One In Four from The Paul Bley Quartet, ECM Records, 1987: Just Us and West 107th Street from Notes by Bley & Motian, Soul Note Records, 1987.

t t t t C B B B B B B C B C B B

KEITH JARRETT’S BYABLUE CHORDS

84

There are chord symbols on many of Motian’s lead sheets. Inmost cases, the chords are referenced throughout a given song. However, there are some songs where the chords are not played or referenced on the source recording. These songs are Boomerang, Jack Of Clubs, Johnny Broken Wing, Look To The Black Wall, and Waltz Song.

Byablue, Fantasm, Trieste and Yahilali were first recorded on the Keith Jarrett album Byablue. These same four songs later appeared on recordings by Motian’s quintet. Trieste is the only song that later changed compositionally While the two versions retain the same melody, there are notable differences in the number of bars and the chord changes. Both charts line up with their respective source recordings.

SOLOS

Boomerang

Many of Motian’s songs have free solos that abandon the form after the melody is played. Usually these songs have no chord symbols on the charts. The songs with chord symbols that also have free solos are Byablue (Jarrett recording), Dance, Jack Of Clubs, Look To The Black Wall, 9 X 9, Prelude, Rebica, Second Hand, 2 Women From Padua, Victoria, and Waltz Song.

The form of this song alternates between the first 8 bars being played out of time and then going into time at the 1st and 2nd endings. Solos are played as vamps at both the 1st and 2nd endings. Chords are not played or referenced for the melody or solos.

B B B C B B B C B S B B K K

5

Drum Music

Psalm

This was often the break tune for Motian’s live bands. Sometimes only the melody was played and other times there would be solos. The ending was a resounding low ‘A.’

The guitar and bass play the melody between bars 5—8, the saxophones then play the whole melody. After solos, the saxophones play the melody between bars 5—8 to the end. The bass figure at the bottom of the chart is not played.

Hide And Go Seek Tuesday Ends Saturday The guitar plays an ostinato figure; saxophones join in with a similar figure while the bowed bass improvises. Saxophones play the melody at the end.

the key of A on the chart and in the key of V on the source recording.

The melody begins at the last note of bar 3 and follows the form from there. After solos, the melody begins at the last note of bar 4 and follows the form to the 2nd ending for the final end, There are no chord changes on the chart, but the band gives the impression of harmonic movement in the interlude as well as in their improvisations. The tempo is much slower than indicated on the chart.

Oleevio

Waltz Song

One of five unreleased pieces in the songbook. Fortunatel a quintet rehearsal tape exists of this song revealing how the form was taking shape. Among the several versions, the first time through begins with the guitar playing the third line. The form is then played two or three more times with the saxophones and guitar switching among the three parts. Chord symbols appear to be root movements for the bass with any implied harmony coming from the melody. The tempos on these versions are significantly faster than indicated on the chart.

During the melody, the bass references only a few chord roots, then plays harmonics that allude to the part at the bottom of the chart that’s in the bass clef. The treble clef of the same part at the bottom isn’t played. The soprano saxophone solo is open while the bass plays in a Dmi tonality at times.

Lament

HAD THE honor of playing in the Paul Motian Electric Bebop Band, which later became the Paul Motian Octet, from 1997 to 2011. During that time, as the band went through various personnel changes, the music also changed as Paul introduced more and more of his own compositions. At first he brought tunes h&d previously recorded, and later new music written for the band.

I

When Paul’s niece, Cynthia McGuirl, began gathering his music for publication, she asked if I would help sort through the lead sheets and assemble the notes for the songhook. In the process of compiling notes, it was inspiring to revisit Paul’s recordings while hearing how the music took shape from his charts, I was also reminded of how Paul, through the way he played the drums, inspired the Electric Bebop Band and the Octet to bring something of our own to the music. With this in mind, I believe he would have wanted his music to be open to interpretation and ideas. For me personally, the depth of Paul Motian’s influence is immeasurable. The experience and joy of playing with him forever changed my life. I will always be grateful for those times. Steve Cardenas Pviusician d Friend

85

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IN D.iiX)ByVAeB U M

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I CONCEPTION VESSEL

ECM 1973

Paul Motian drums, percussion, Charlie Haden bass, Keith Jarrett piano, flute, Sam Brown electric and acoustic guitars, -

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DANCE

ECM 1978

Charles Brackeen soprano and tenor saxophones, David Izenzon bass, Paul Motian drums, percussion -

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Leroy Jenkins violin, Becky Friend flute -

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American Indian: Song of Sitting Bull.. Ch’i Energy Conception Vessel Georgian Bay Inspiration From a Vietnamese Lullaby Rebica

.12 .19 .22 .34 .40 .61

Asia

14

Dance Kalypso Lullaby Prelude Waltz Song

23 45

49 59 79

LE VOYAGE TRIBUTE

ECM 1975

Carlos Ward alto saxophone, Sam Brown acoustic and electric guitars, Paul Metike electric guitar, Charlie 1-laden bass, Paul Motian drums, percussion -

-

-

ECM 1979

Charles Brackeen soprano and tenor saxophones, JR Jenny-Clark bass, Paul Motian drums, percussion -

-

-

-

-

Sod House Tuesday Ends Saturday Victoria

63 76 78

BYABLUE

Abacus Cabala Drum Music Folk Song For Rosie LeVoyage The Sunflower

11 17 24 31 47 69

Impulse 1977

Keith Jarrett piano. soprano saxophone, percussion, Dewey Redman tenor saxophone, musette, Charlie Haden bass, Paul -

-

PSALM

ECM 1981

-

Motian

-

drums, percussion

Billy Drewes tenor and alto saxophones, Joe Lovano tenor saxophone, Bill Frisell guitar, Ed Schuller bass, Paul Motian drums -

-

-

Byablue Fantasm Trieste Yahflah

86

16 26 74 81

Boomerang Etude Fantasm Mandeville.. Psalm Second Hand White Magic Yahllab

-

-

15 25 26 50 60 62 80 81

C C C C C C C C C C C C C C C C C C C C B B C B B K B S

THE STORY OF MARYAM

Soul Note 1984

Jim Pepper tenor and soprano saxophones. Joe Lovano tenor saxophone, Bill Frisell guitar, Ed Schuller bass, Paul Motian drums -

-

-

-

Five Miles To Wrentham Look to the Black Wall 9x9 The Owl of Cranston The Story of Maryam Trieste

30 • 48 • 52 56 .66 75

IT SHOULD’VE HAPPENED A LONG TIME AGO ECM 1985

JACK OF CLUBS

22 28 38 39 41 42 77

Jim Pepper tenor and soprano saxophones, Joe Lovano tenor saxophone, Bill Frisell guitar, Ed Schuller bass. Paul Motian -

-

-

-

-

drums

Abacus Byablue Dance Folk Song For Rosie Gangofs Johnny Broken Wing Once Around the Park

11 16 23 31 33 44 54

Soul Note 1989 -

Circle Dance For the Love of Sarah Good Idea Morpion One Time Out Portrait of T The Storyteller

20 32 35 51 55 57 68

SEGMENTS Geri Allen

-

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DIW 1989

piano, Charlie 1-laden

-

bass Paul Motian

-

drums

-

drums

Cathedral Song Drum Music Hide and Go Seek. Jackof Clubs Lament Split Decision Tanner St

-

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Soul Note 1985

-

-

Joe Lovano tenor saxophone, Bill Frisell guitar, Paul Motian dr urns

-

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Conception Vessel Fiasco In the Year of the Dragon India Introduction It Should’ve Happened A Long Time Ago 2 Women From Padua

Soul Note 1987

Jim Pepper tenor and soprano saxophones, Joe Lovano tenor saxophone, Bill Frisell guitar, Ed Schuller bass, Paul Motian

ONE TIME OUT

Joe Lovano tenor saxophone, Bill Frisell guitar, guitar synthesizer, Paul Motian drums -

MISTERIOSO

Home 18 24 36 43 46 64 72

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UNRELEASED Oleevia © 1983 Prairie Avenue Cowboy © 1983 Tales of the Unexpected © 1983 Tangram © 1981 Zimbabwe © 1982 .

53 58 70 71 82

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C C C I S S I Special thanks to Steve Cardenas, Bill Frisell, David McGuirl, Kalie McGuirl, Noreen Mullaney, Hans Wendl, and the many musicians who supported this project with their enthusiasm for it.

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wwwpaulmotianarchive.com

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AZZ DRUMMER Paul Motian (1931—2011) composed music that is uniquely suited to improvisation. Motian began playing on the New York jazz scene in the late 1 950s and was a part of many groundbreaking groups, including ones led by Bill Evans and Keith Jarrett. He began leading his own bands simultaneously with writing his own music. For the first time, his written music is available to the public. Collected from his papers and presented in his own handwriting, the tunes here are a complete collection, from when he first started composing in 1973 until 1989 when his main gig was his trio with Bill Frisell and Joe Lovano.

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Le Voyage Look To The Black Wall Lullaby Mandeville Morpion 9x9 Oleevio Once Around The Park One Time Out The Owl Of Cranston Portrait OfT. Prairie Avenue Cowboy Prelude Psalm Rebica Second Hand Sod House Split Decision The Story of Maryam The Storyteller The Sunflower Tales Of The Unexpected Tangram Tanner St. Trieste Tuesday Ends Saturday 2 Women From Padua Victoria Waltz Song White Magic Yahllah Zimbabwe

Abacus American Indian: Song Of Sitting Bull Asia Boomerang Byablue Cabala Cathedral Song Ch’i Energy Circle Dance Conception Vessel Dance Drum Music Etude Fantasm Fiasco Five Miles To Wrentham Folk Song For Rosie For The Love Of Sarah Gang Of 5 Georgian Bay Good Idea Hide and Go Seek Home In The Year Of The Dragon India Inspiration From A Vietnamese Lullaby Introduction It Should’ve Happened A Long Time Ago Jack Of Clubs Johnny Broken Wing Kalypso Lament

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