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THE

COMPOSITIONS OFPAULMOTIAN VOLUME 2

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1990—2011

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a a a a a The Compositions of Paul Motian Volume 2

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1990—2011

Copyright © 2018 by Cynthia McGuirl Music Rights: Yazgol Music/BMI ISBN: 978-0-9996768-0-6 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. Cover Photograph: © John Rogers Febuary 18, 2011 Patil Motian at the Cornelia Street Cafe, NYC

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Quotes are from Paul Motians personal notebooks © Paul Motian Archive For more on Paul Motian, visit: www.paulmotianarchive.com

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Printed in the United States of America

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Joe Lovano

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Endless

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Biography, David WcGidr/

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Flight of the Bluejay

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From Time to Time

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Garden or Eden

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introduction, Music,

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COM POSiTIONS Arabesque

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If It’s Not One Tb ing It’s Another

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B i rdsong

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Blue Midnight

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Hoax

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Congestion

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Manhattan Melodrama

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Cosmology

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Mesmer

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The Divider

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Mode VT

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D rearnworld

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Monica ‘s

Eridgarnc, ‘Ifrioism

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Morpion

Garden

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Three

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The Sunflower

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23rd St. Theme

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Prelude

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Narcissus

Rifi Raff The Riot Act

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Index or Songs in Album

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INTRODUCTION S T’-’ 2! There are now a total of 128 Paul Motian V lead sheets available to musicians.

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Paul Motian never published a songbook during his life time, but 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 adamant about was that I have possession of the file folder that contained his full set of copyrighted songs. I am not a musician. As a visual artist, I was struck by the beauty of his compositions: the handwriting, the simplicity, the layout. After organizing Paul’s copious composition notebooks, I felt that making his written music available to any musi cian 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 Frisell 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 ver sions of the songs were chosen for this book. A few were lightly edited. It is important that the music appears in Paul Motian’s own handwriting. He conveyed a lot with his writing style and notations that 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. Over his lifetime, Paul Motian copyrighted 121 songs. 113 of these have lead sheets. Volume 1 includes 64 songs leav ing 49 for Volume 2. I thought I would reprint the tunes from Volume 1 that were also recorded in the Volume 2 years. I didn’t realize there were so many (23), so I decided to mark them as ‘Volume 1’ in the index. However, 3 songs

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that have notable changes from their earlier versions are included: Morpion, Split Decision, and The Sunflower. Paul had many composer or co-composer credits for impro vised music in the time frame of Volume 2. These tunes are listed under Songs Without Lead Sheets in “Notes”. In addition, there are 16 unreleased songs in this volume, only one of which is included in the 113 total above. Car nival was copyrighted by Paul in 1991 and I have some rehearsal recordings of it from 1984. The 15 new songs were drawn from his composition workbooks. They were worked out by Paul at least to the point of him writing out a copy in his well—groomed handwriting. It is difficult to specifically date the new songs. But judging by where the papers were among known tunes, they all appear to be post 1990 except Sam Brown. There is a rehearsal record ing of an early version of this tune (called Brownstone) from January 1978 which is just after Sam Brown’s death. Sidetracked and Rff Raft were handed out to members of Paufs band (Steve Cardenas, the former, and Ben Monder, the latter) but they never got to the point of playing them together. Benny D., Umli Hum, Lotown Walk and Untitled 2 all had multiple xerox copies with the original, leading me to believe he planned on playing them with a band but did not. The music sometimes changed after it was played, so in my mind, these new tunes are draft versions. There are no known (at this point) recordings of 14 of these songs, so I hope they inspire the imaginations of both cur rent and future jazz players. I am grateful that my plan to get all of Paul Motian’s writ ten compositions available to the public has come to frui tion. The support of musicians who have and will purchase these volumes is what made it happen. Thank you. Cynthia McGuirl Niece & Caretaker of Paul Motians Archive

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HE MUSIC and school of Paul Motian is full of in spired, impressionistic imagery beyond the notes. His titles alone will fuel your ideas and suggest a direction to your music in a magical way: Mumbo Jumbo, Dreqinworid, The Hoax, Garden of Eden, In Remembrance of Things Past, Split Decision, It Is, Birdsong, 23rd St. Theme, Time and Time Again, One in Three and Shackalaka, to name a few

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Playing with Paul and Bill Frisell in the Quintet from 1981—85 and the Trio from 1984 until his passing in 2011 was a High Light and truly a Blessing for me in my life time. Now with this second volume of Paul’s compositions, in his own hand, we can all see and feel his inspiration and passion for the love of music and expression. Paul loved to play and was a master of interpretation, improvisation, spontaneous orchestration and swing. He was always de veloping new ways to execute his ideas and communicate his feelings. Paul could and would create and sustain a mood like no other. He had a timeless sound of his own in his tunes and way of playing the drums, that is the mys terious beauty in his well documented body of work. I am really proud to have been a part of his amazing world of Music It was incredible to join Charlie Haden and the Libera tion Music Orchestra in the mid l980s. Playing alongside Dewey Redman, Makanda Ken McIntyre, Torn Harrell or Don Cherry, Stanton Davis, Ray Anderson or Craig Harris, Bob Stewart or Joe Daley, Sharon Freeman, Geri Allen or Amina Claudine Myers, Mick Goodrick, Charlie and Paul. That was one of the most creative, explosive ensembles I’ve ever been a part of. We played as a congregation of folks in the most spiritual way. Paul and Charlie were amaling together every second.

During this time the Trio was in full swing and I had been playing with Paul for six years or so. From 1981 through the early 2000s, Bill and I were on the road with Paul tour ing mainly in Europe. We played with the Quintet con sisting of Billy Drewes or Jim Pepper on saxophones and Ed Schuller on bass, or the Trio three times a year, spring, summer and fall, having the time of our lives. We recorded for ECM, Soul Note and JMT records and documented Paul’s originals as well as some famous music he loved to play and experience: Thelonious Monk, Bill Evans, Billie Holiday, Bebop tunes and Broadway songs. Through the years Paul also played on some of my most expressive and important recordings as a leader as well. Village Rhythm on Soul Note, Worlds which also featured the Trio within my ensemble on Label Bleu, and I’m All for You, Joyous Encounter and Billy Strayhorn: Lush Life—all on Blue Note records. They featured the great Hank Jones on piano and George Mraz on bass. Putting Hank, George and Paul together for these sessions was pure magic and some of my shining hours. That was one of the hippest quartet collaborations I’ve led in my recording career. Paul’s life and contribution to the music was full of humor, truth and love. That is what resonates in me when I think of him. He will always inspire and fuel my ideas into to morrow... I’d like to thank Cynthia McGuirl, Steve Cardenas and Bill Frisell for their love and attention to the details in putting this second volume of Paul’s tunes together for all of us to explore, learn from and enjoy... Joe Lovano Musician Friend

M U S IC 7

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BIOGRAPHY 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 bandleader 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 delinquent”—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 musicians 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 1960s, Paul began playing with pianist Keith Jarrett, first in a trio with bassist Charlie Haden, and then in Jar rett’s “American Quartet” with the addition of saxophonist 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, 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 [Greene]’s

for my lesson. One days 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 well2 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 Should’vc 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 Evans’s drummer in the 1960s, Keith Jarrett’s drummer in the 1970s, and Paul Motian’s drummer in the 1980s.” 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 saxophones, two guitars, electric bass, and drums. During this time Paul also recorded the On Broadway series, a collection 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, including 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 often say, “Less is more:’ His precision and economy of expression were matched by a commitment to creative exploration. 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 exactly Cole Porter:’ he once told Modern Drummer with typical modesty, “But I generally find what I’m going for:’

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HE LEAD sheets in this songbook are among the charts that Paul Motian had given to his various bands through out the years. listening to Motian’s recordings reveals how his music comes to life from the written page. Yet elements of a song may change in a rehearsal, on a gig or at a recording session. While certain changes or arrange ments 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.

T

TIME

SOLOS

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. There are some source recordings that are played out of time from charts with time sig natures that either have no indications or it’s written to play freely, slow or fast. These songs are Blue Midnight, Cambodia, Casino, Endgame (Holiday for Strings), Endless, From Time to Time, The Hoax, Manhattan Melodrama, Mesmer, Morrook, One in Three, Prelude 2 Narcissus, Standard Time, Time and Time Again, Wednesday, Zabel.

Many of Motian’s songs have free solos that abandon the form after the melody is played. Most of these songs have no chord symbols on the charts. The songs with chord symbols that also have free solos on the source recordings are The Divider, Endless, Morrook, Olivia’s Dream, The Riot Act, Standard Time, The Third Walk, Whirlpool.

CHORDS There are chord symbols on many of Motian’s lead sheets. In most cases, the chords are referenced through out a given song. However, there are some songs where the chords are not played or referenced on the source recording. These songs are The Divider, Standard Time, The Third Walk.

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Some of Motian’s music has indications written on the chart, such as ad lib or notes in brackets, that aren’t part of the melody but are notes for referencing tonality or an ostinato figure. Songs with these indications are Gar den ofEden, Odd Man Out, Osmosis. There are also instances where the chords are not played on the source recording, but the solos follow the melody and form of the song: It Is, Play.

SONGS WITH TWO CHARTS Endgame and Mumbo Jumbo have two charts as there are significant differences that line up with their respec tive source recordings.

REVISITED SONGS

Casino

Motian revisited many of his earlier songs with his bands after 1989. While most of these songs were played from the original charts, a few had been rewritten by Motian with additional parts or chords added. Charts with these differences are included in Volume 2 with their corresponding source recording. These songs are Morpion, Split Decision, The Sunflower.

The chart with the verse to Casino is titled The Open Door with Casino written underneath. On the record ing, both the verse and main body of the song are titled Casino. The Open Door was a prominent Greenwich Village jazz club in the 1950s.

Harmony Revisited songs not included in Volume 2, as there are no differences between the chart in Volume I and the later recordings, are listed in the ‘Index by Album’.

On the source recording, I Have the Room Above Her, the last two melody phrases on page 1 are played as a

cue out on solos. Page 2 is played only at the end. MINOR DIFFERENCES BETWEEN CHART AND RECORDING Whether it be a different chart with a subtle change or something that may have been decided at a rehearsal, gig or recording, some charts in Volume 2 have minor differences from the source recording or other record ings from this time period. Blue Midnight: the B-7 in bar 3 of letter B is a D-7 on

Lost In A Dream

The Hymn This is the only chart of the unreleased songs with an in dication that isn’t entirely clear what Motian’s intentions were. Bars 11 & 12, in brackets, are the same as bars 1 & 2. The last two bars, 13 & 14, were written in pencil. It is possible that Motian put brackets around bars 11 & 12 thinking he might replace them with the last two pen ciled bars, but that is speculation at best and impossible to know without any other indications. It was decided to include this song as is, leaving it open to interpretation.

Congestion: bars 9 & 10 aren’t played on Trioism Lost in a Dream: bar 15 is played as Cs- on Lost In A

K.T.

Dream Play: the two 8th notes on beat 2 in bar 2 are C# & D#

on Trioism Shackalaka: extra bar at the end of letter B is played be fore returning to top on Motian in Tokyo

The chart is in Gb only, though on Time and Time Again there is a modulation to the key of F. Lovano and Motian play one chorus of melody in Gb. Frisell is in at modulation to F for melody again, another chorus in F with Lovano soloing, then back to Gb for melody out.

Prisell plays chords, but melody is used as accompani ment as well for solos.

23rd St. Theme: has no time signature, but is played in time on Joe Lovano’s Sounds of Joy

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TUNES WITHOUT LEAD SHEETS

NOT TWO, NOT ONE ECM 1999 Paul Bley piano, Gary Peacock bass, Paul Motian drums Not Zero in One Part Not Zero in Three Parts -

Motian often performed and recorded as a collective member of various piano trios and occasionally, duos. Many of these recordings include compositions by Motian. Most of the following tunes with Motian credited as composer or co composer were collaboratively improvised. The improvised tunes are listed with source recordings and musician credits. THE MONTREAL TAPES Verve 1989/1994 Paul Bley piano, Charlie Haden bass, Paul Motian drums Body Beautiful -

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MEMOIRS Soul Note 1990 Paul Bley piano, Charlie Haden bass, Paul Motian drums Enough Is Enough Sting a Ring This Is the Hour -

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FANTASM BMG France 1999 Stephan Oliva piano, Bruno Chevillon bass, Paul Motian drums Intérieur Jour -

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AMARYLLIS ECM 2000 Marilyn Crispell piano, Gary Peacock bass, Paul Motian drums M.E. (Manfred Eicher) Voices -

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INTERIEUR NUIT Nightbird Music 2001 Stephan Oliva piano, Bruno Chevillon bass, Paul Motian drums -

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Etude de Nu TRIANGLE King Record 1992 Tethered Moon: Masabumi Kikuchi piano, Gary Peacock bass, Paul Motian drums Introduction 1 -

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Intérieur Nuit Schiaffo

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DOORWAYS Cam Jazz 2004 Enrico Pieranunzi piano, Paul Motian drums Double Excursion 1, 2, & 3 -

ZEN PALACE Transheart 1993 Paul Bley piano, Steve Swallow bass, Paul Motian drums Ah-Ha -

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EXPERIENCING TOSCA Winter & Winter 2004 Tethered Moon: Masabumi Kikuchi piano, Gary Peacock bass, Paul Motian drums Blues for Tosca Homage to Puccini -

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UNTOLD STORY IDA Records 1994 Enrico Pieranunzi piano, Marc Johnson bass, Paul Motian drums -

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Improlude FLUX AND CHANGE

Soul Note 1995

Enrico Pieranunzi piano, Paul Motian drums -

GOODBYE Bobo Stenson piano, Anders Jormin bass, Paul Motian drums -

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Sudan

Double Act 1,2,3, &4 Drumlogue #1, #2, & #3 Hazard Rate

SUNRISE ECM 2012 (recorded 2009) Masabumi Kikuchi piano, Thomas Morgan bass, Paul Motian drums -

FIRST MEETING Winter & Winter 1997 (recorded 1990 & 91) Tethered Moon: Masabumi Kikuchi piano, Gary Peacock bass, Paul Motian drums First Meeting Intermezzo Open Trio -

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ECM 2005

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Ballad I Ballad II End of the Day Last Ballad New Day Short Stuff So What Variations Sticks and Cymbals

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INDEX BY ALBUM MOTIAN IN TOKYO JMT 199 1/ Winter & Winter 2004 Joe Lovano tenor saxophone, Bill Prisell guitar, Paul Motian drums -

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REINCARNATION OF A LOVE BIRD JMT 1994? Winter & Winter 2005 Paul Motian and the Electric Bebop Band: Paul Motian drums, Don Alias percussion, Steve Swallow bass, Kurt Rosenwinkel guitar, Wolfgang Muthspiel guitar, Chris Potter alto & tenor saxophone, Chris Cheek tenor saxophone -

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Birdsong From Time to Time

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The Hoax

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Ills ModeVI Mumbo Jumbo Shackalaka

38 46 50 64

2 Women from Padua

Volume 1

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Split Decision

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YOU TOOK THE WORDS RIGHT OUT OF MY HEART JMT 1995? Winter & Winter 2005 Lovano Joe tenor saxophone, Bill Frisell guitar, Paul Motian drums -

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SOUNDS OF JOY ENJA 1991 Joe Lovano tenor & soprano saxophones, alto clarinet, Anthony Cox bass, Ed Blackwell drums -

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23rd St. Theme

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Abacus Circle Dance

Volume I Volume 1

Five Miles to Wrentham Folk Song for Rosie

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Volume 1 Volume 1

The Owl of Cranston The Sunflower Yahllah

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Volume 1

TRIOISM JMT 1994? Winter & Winter 2005 Joe Lovano tenor saxophone, Bill Frisell guitar, Dewey Redman tenor saxophone, Paul Motian drums

SOUND OF LOVE

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Winter & Winter 1997

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

Blue Midnight Congestion Cosmology

Endgame In Remenbrance of Things Past It Should’ve Happened a Long Time Ago. Jack of Clubs Monica’s Garden Play Zabel

16 22 23

26 37

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Mumbo Jumbo

Once Around the Park Play

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Volume 1 Volume 1 47 58

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I HAVE THE ROOM ABOVE HER

FLIGHT OF THE BLUE JAY Winter & Winter 1997 Paul Motian and the Electric Bebop Band: Paul Motian drums, Steve Swallow electric bass, Kurt Rosenwinkel electric guitar, Brad Schoeppach electric guitar, Chris Potter tenor saxophone, Chris Cheek tenor saxophone -

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Flight of the Blue Jay

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TRIO 2000

ECM 2005 Joe Lovano tenor saxophone, Bill Frisell guitar, Paul Motian drums

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Winter & Winter 1998 Trio 2000 + One: Paul Motian drums, Chris Potter tenor saxophone, Steve Swallow electric bass, Larry Grenadier acoustic bass, Masabumi Kikuchi piano -

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13 Volume 1 32 53 55 57 61 65 67

The Bag Man Dance Harmony Odd Man Out One in Three Osmosis The Riot Act Shadows Sketches

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Dance From Time to Time Last Call One in Three The Sunflower

Volume 1 30 40 55 73

EUROPE Winter & Winter 2001 Paul Motian and the Electric Bebop Band: Anders Christensen electric bass, Chris Cheek tenor saxophone, Pietro Tonolo tenor & soprano saxophone, Ben Monder guitar, Steve Cardenas guitar -

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Blue Midnight Fiasco

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GARDEN OF EDEN ECM 2006 Paul Motian Band: Chris Cheek, Tony Malaby saxophones, Steve Cardenas, Ben Monder, Jakob Bro- guitars, Jerome Harris bass, Paul Motian drums -

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Endless Etude Garden of Eden Manhattan Melodrama Mesmer Mumbo Jumbo Prelude 2 Narcissus

28 Volume 1 31 44 45 51 59

LIVE AT THE VILLAGE VANGUARD VOLUME I Winter & Winter 2007 Trio 2000 + Two: Paul Motian drums, Chris Potter tenor saxophone, Larry Grenadier bass, Greg Osby alto saxophone, Masabumi Kikuchi piano -

HOLIDAY FOR STRINGS

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Winter & Winter 2002 Paul Motian and the Electric Bebop Band: Paul Motian drums, Anders Christensen electric bass, Chris Cheek tenor saxophone, Pietro Tonolo tenor & soprano saxophone, Ben Monder guitar, Steve Cardenas guitar

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Arabesque Endgame Five Miles to Wrentham Look to the Black Wall Morpion

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Last Call Morrook Olivia’s Dream Standard Time

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LIVE AT THE VILLAGE VANGUARD VOLUME II Winter & Winter 2008 Trio 2000 + Two: Paul Motian drums, Chris Potter tenor saxophone, Larry Grenadier bass, Greg Osby alto saxophone, Mat Maneri viola, Masabumi Kikuchi piano

LOST IN A DREAM ECM 2010 Paul Motian drums, Chris Potter tenor saxophone, Jason Moran piano

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The Divider Fiasco The Sunflower Ten The Third Walk

24 Volume 1 73 76 77

LIVE AT THE VILLAGE VANGUARD VOLUME III Winter & Winter 2010 Trio 2000 + Two: Paul Motian drums, Chris Potter tenor saxophone, Larry Grenadier bass, Masabumi Kikuchi piano, Mat Maneri vio]a

Volume 1 15 16 20 Volume Volume I 42 46 76

THE WINDMILLS OF YOUR MIND Winter & Winter 2011 Thomas Morgan bass, Bill Frisell electric guitar, Petra Haden- vocals, Paul Motian drums

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Abacus Birdsong Blue Midnight Casino Cathedral Song Drum Music Lost in a Dream Mode VI Ten

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Gang of 5 The Hoax Standard Time Ten The Third Walk

Volume 1 34 72 76 77

TIME AND TIME AGAIN

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Cambodia In Remembrance of Things Past K.T OneTwo Time and Time Again Wednesday Whirlpool

17 37 39 56 78 84 86

ON BROADWAY VOLUMES Winter & Winter 2009 Trio 2000 + Two: Paul Morian drums. Thomas Morgan- bass, Loren Stillman saxophone, Masabumi Kikuchi piano, Michael Attias saxophone -

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Morrook

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UNRELEASED

ECM 2007 Joe Lovano tenor saxophone, Bill Frisell guitai, Paul Motian drums

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Backup Introduction Trieste Wednesday’s Gone

Benny D Carnival Dreamworld TheHymn If It’s Not One Thing It’s Another Night RiffRaff Sam Brown September Sidetracked Tacho Umh Hum Untitled 1 Untitled 2 Uptown Walk Wonderful One

14 18 25 35 36 52 60 62 63 66 74 80 81 82 83 87

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t C C C Special thanks to Steve Cardenas, Bill Frisell, Joe Lovano, David McGuirl, Kalie McGuirl, Noreen Mullaney, Hans Wendi, and the many musicians who supported this project with their enthusiasm for it. The Compositions ofPaul Motian: Volume 1, 1973—1 989 is also available from: www.paulmotianarchive.com

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C 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 1950s 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 in 1973. Volume 1 presents Motian’s tunes from 1973—1989. Volume 2 completes the collection of music Paul Motian wrote by covering the years 1990—2011. He recorded for labels ECM, JMT, and Winter & Winter. Motian’s bands at the time were the Paul Motian Trio (with Bill Frisell and Joe Lovano), the Electric Bebop Band, Paul Motian Band, and Trio 2000.

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Arabesque Backup The Bag Man Benny D. Birdsong Blue Midnight Cambodia Carnival Casino Congestion Cosmology The Divider Dreamworld Endgame Endless Flight of the Bluejay From Time to Time Garden of Eden Harmony The Hoax

The Hymn If It’s Not One Thing It’s Another In Remembrance of Things Past It Is K.t Last Call Lost in a Dream Manhattan Melodrama Mesmer Mode VI Monica’s Garden Morpion Morrook Mumbo Jumbo For more on Paul Motian, visit www.paulmotianarchive.com

$24.95

Night Odd Man Out Olivia’s Dream One in Three OneTwo Osmosis Play Prelude 2 Narcissus Riff Raff The Riot Act Sam Brown September Shackalaka Shadows Sidetracked Sketches Split Decision Standard Time The Sunflower Tacho Ten The Third Walk Time and Time Again 23rd St. Theme Umh Hum Untitled 1 Untitled 2 Uptown Walk Wednesday Wednesday’s Gone Whirlpool Wonderful One Zabel

ISBN 978—O—9996768—0—6’ 52495>

USD 9 780999 676806

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