Anat Fort: The Dreamworld of Paul Motian

Other performers inspire every musician to some extent, but for Anat Fort, the influence of drummer Paul Motian altered her approach to performing and thinking about music. Although Motian passed away in 2011, his presence remains a motivating force in Fort's work. With The Dreamworld of Paul Motian, she pays homage not just to the man but to the mystery, lyricism, and true spirit of his music.

Motian elevated the role of drumming in modern jazz. From his time with the Bill Evans Trio in the late 1950s to his work with Keith Jarrett, Bill Frisell, Lee Konitz and countless others, Motian pioneered a more interactive, conversational approach to rhythm, departing from traditional timekeeping to explore subtle textures and open space. His playing emphasized nuance and atmosphere, often blending folk-like lyricism with abstract, impressionistic rhythms. He embodied a spirit of exploration and independence, establishing himself as a visionary who expanded the possibilities of jazz drumming, leaving behind an enduring legacy.

Fort's first exposure to Motian came from listening to the Bill Evans Trio recordings, where she was impressed by the expressive, conversational role he created for the drums. Later, in New York, she immersed herself in his live performances and eventually played alongside him on her 2007 ECM release A Long Story, a collaboration that Motian himself helped bring to fruition.

The Dreamworld of Paul Motian is more than simply a tribute album. This is a thoughtfully constructed collection of songs that captures the spirit of Motian's innovation and energy. Fort features five previously unrecorded pieces drawn from Motian's composition books, alongside familiar compositions, all of which serve as her own thank you letter to the musician who has made such a lasting impact on her life.

For this project, Fort assembled a quartet well-suited to navigate Motian's elusive terrain. Guitarist Steve Cardenas, a former Motian band mate, brings textural nuance and emotional depth to the material. His contributions went beyond performance alone. He also assisted in selecting and shaping the material. Longtime Fort collaborator Gary Wang is featured on bass alongside drummer Matt Wilson, both helping to capture the spirit of Motian.

The ensemble's chemistry is unmistakable. There is an exceptional group dynamic at work, as evidenced by the opening track, "Dreamworld." Here, the players enter into a musical dialogue, beginning with the feeling of everyone talking at once, slowly evolving into harmonic unity. Songs such as "Mumbo Jumbo" and "Riff Raff" present what might be best described as structured freedom. In someone else's hands, these songs might come across as avant-garde cacophony, but the players here bring out what is best in free jazz and make it accessible to mainstream listeners.

The Dreamworld of Paul Motian is not a backward glance. Although Motian is gone, his presence is still very much alive, and Fort is maintaining the spirit and integrity of his work. With this album, Anat Fort reminds us that influence is not about imitation but rather continuing the legacy left behind.