Paul Motian: On Broadway Vol. 3

Augmenting the core trio of Motian, tenor saxophonist Joe Lovano, and guitarist Bill Frisell are soprano/alto saxophonist Lee Konitz and bassist Charlie Haden. Curiously, the tracks with the full quintet represent some of Motian's most straightforward and mainstream playing, while the smattering of trio tracks reinforce just how unique and forward-thinking this ensemble—which recently commemorated its 20th anniversary with I Have the Room Above Her—really is.

Tracks like "How Deep is the Ocean, "Tico Tico, and "Weaver of Dreams find Motian driving the pulse more overtly than usual. While Motian has a long history with bassist Gary Peacock, his years with Haden number nearly as many. And it's invigorating to hear the two of them swing with unabashed authority, Motian sounding more direct than usual and Haden less considered and more inside the groove than he can sometimes be with his own projects. Frisell, too, shines on the quintet tracks—given his own musical predilections, it's sometimes easy to forget that he can be an imaginative interpreter of the jazz tradition, with a rich tone that is sometimes almost too lush for its own good.

Motian and Lovano make a vibrant pair for their duet version of "The Way You Look Tonight. Lovano has always worked particularly well with Motian (a fact not lost on Lovano, given his recruitment of Motian for his last two Blue Note albums, I'm All for You and Joyous Encounter). Here the two give the tune a more energetic treatment than usual, largely due to Motian playing double-time over Lovano's more languid phrasing.

But the real treats in the programme are the trio pieces. It's here that Motian demonstrates his real strength as a colourist, separating him from his contemporaries. Time becomes elastic as Motian flutters around the kit. Harmonies become broader as Frisell creates sustaining arpeggios that unfold and move gradually and methodically. And as good as Lovano's own projects are, he remains the most compelling with this trio, looking to the past and future at the same time.

While Motian's three On Broadway discs contain some of his most accessible work, there's no question that the stamp he and the group put on this largely well-heeled material is distinctive and unique. Everyone clearly understands the tradition, but nobody is afraid to bend it, either. All three On Broadway titles are essential proof that the Great American Songbook can be treated with respect and vivid imagination.

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