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http://www.nytimes.com/2006/01/20/arts/music/20moti.html?pagewanted=all By BEN RATLIFFPublished: January 20, 2006THE drummer Paul Motian doesn't get on airplanes anymore. Once, in the mid-90's, he took a three-week tour with 35 flights. By 2003 he was booking himself with three different bands all over Europe and Japan. He decided he was sick of traveling. Enlarge This Image Fred R. Conrad/The New York Times The jazz drummer Paul Motian, leader of three different ensembles, in his Central Park West apartment. After many decades on the road, he has decided to stay close to home. Audio Clips: (mp3) • 'Maryland' by Baby Dobbs • 'Tom Tom Workout' by Baby Dobbs • 'Carolina Moon' by Theolonious Monk • 'Delilah' by Clifford Brown and Max Roach Selected Paul Motian Recordings(January 20, 2006) Forum: Jazz It's not just long distances. "I don't even go to New Jersey or Brooklyn anymore, man," he said defiantly one recent rainy midday, looking west toward the Hudson River from the window of his Central Park West apartment. He is 74, and has lived in the same spot for nearly 37 years, most of that time alone. Now, Mr. Motian wants only to hear his own drum sound clearly. He has found that at the Village Vanguard, where he will play next week, he can. It is an unusual sound. It does not limit any part of the drum set to a particular role. Mr. Motian has two ride cymbals, one of which he has been using since the 1950's; he gets a rich, dark, nuanced sound from it. He uses no padding or muffling in his 20-inch bass drum, and with it he can get a remarkable, deep, loud, loose noise, almost a splat - a reminder that a bass drum is an instrument of emphasis, not just timekeeping. And for timekeeping, he plays whatever moves into his imagination. Four beats could be marked by a few snare-drum hits, a few clenches of the high-hat and a couple of combinations; in the next bar, he might play small military rolls and one lone cymbal. He has a careful style, but he is free within it. He works mostly with three of his own groups: his trio with the guitarist Bill Frisell and the saxophonist Joe Lovano, which has grown steadily more influential over 21 years; Trio 2000 + 1, with the bassist Larry Grenadier and the saxophonist Chris Potter, the plus-one being the enigmatic Japanese pianist Masabumi Kikuchi (or lately, the singer Rebecca Martin); and the group formerly known as the Electric Bebop Band, now called the Paul Motian Band, with the odd structure of three guitarists, two tenor saxophonists, bass and drums. That is the group that will play next week at the Vanguard; simultaneously, it will be releasing a new album, "Garden of Eden," on ECM. Small and bald, with excellent posture - he runs a few miles in Central Park nearly every day - Mr. Motian practices rapid, streetwise self-deprecation, cussing constantly. That, and a nail-gun laugh, give him the demeanor of an old-school hipster. I have heard him call a room full of people, at one time, "man." (As in "Hey, thanks for coming, man!") But he can't be reduced that easily. History has shaken him out as one of the greatest drummers in all of jazz - a select group that would include, say, Max Roach and Roy Haynes. These days, Mr. Motian's playing seems to get beyond styles particularly associated with any era of jazz. Spare and never facile, as natural as breathing, Mr. Motian's constant flow of improvisation can seem to get beyond thinking in general. At the moments of the highest abstraction in his playing, there is the greatest sensitivity, and always the implication of a pulse. Jazz, mostly, is about testing the integrity of a song's frame. Mr. Motian appears to feel that if you truly respect the frame, you can put anything inside it. About half of one of his sets tends to be original compositions. An amateur pianist since the middle of his tenure as the drummer in Keith Jarrett's quartet during the late 1960's and 70's, he has written dozens of excellent melodies, flowing and terse. (The other half consists of tunes by jazz composers he admires, Thelonious Monk or Bud Powell or Charles Mingus, or popular standards.) He doesn't overcompose, likes hearing his music liberally interpreted, and lets his band members do what they want. 'I Know Your Secret' Mr. Motian is not advancing any great theories about his style. One day during a recording session a few years ago, Hank Jones, the wise old pianist, took him aside. "I know your secret," he whispered. Mr. Motian told this story with a baffled shrug. "I wish I knew what he meant," he said. "Wow!" Asked to listen to some recordings and talk about them, he came up with a fantastically judicious list. He kept claiming not to have an aptitude for thinking about music analytically. Then it was clear that he knew exactly what to talk about: he just wanted it to drift up on its own, without his having to point it out. Mr. Motian grew up in Providence, R.I., hearing big bands at the Metropolitan Theater in downtown Providence and at Rhodes on the Pawtuxet, a dance space just outside the city. He entered the Navy in 1950 during the Korean War, as a better option than being drafted into the Army. It first enabled him to attend the Navy School of Music in Washington, which he attended briefly and remembers as "a farce." He sailed around the Mediterranean for two and a half years in the admiral's band of the Seventh Fleet, and then was stationed in Brooklyn in the fall of 1953. Discharged a year later, he moved to Ninth Street in the East Village. His share of the rent was $12.50 a month. He collected unemployment, ate potato knishes and played at jam sessions. The first piece Mr. Motian wanted to hear connected to the days of playing marches in the Navy. It is from Baby Dodds's "Talking and Drum Solos," a documentary record made for Folkways in 1946 by the jazz historian Fred Ramsey. Baby Dodds was the great New Orleans drummer of the 1920's and 30's who worked with <a href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=2289&inline=nyt-per" title="" style="color: rgb(0, 0, 102); ">Louis Armstrong, Jelly Roll Morton and Johnny Dodds, his brother; he became celebrated a second time in New York during the 1940's Dixieland revival. The 10-inch record, on which Dodds discusses his history and technique, is a little primer on different rhythms for different drums. Cueing up the record on his turntable, Mr. Motian started with Dodds's solo version of the traditional New Orleans march tune "Maryland." His point, in singling out "Maryland," was not about surface flash, technique or speed. It was much simpler. While playing a march rhythm on the snare drum all the way through, Dodds delineates the verse from the bridge by pumping a bass drum on the bridge but not on the verses. That's all. "I guess my point is that it makes a difference," he said. "He's in a different part of the song." What about that cymbal sound, I asked, the one tap at the end of each section. Why is it so soft? Was Dodds, who worked during the earliest days of jazz recording, just respecting the sensitivity of the microphones? "No, I don't think so," Mr. Motian replied. "You know, the drummers in those days - I don't think they bashed the cymbals like they do now. It's delicate. It's a cymbal, man. It's not a jackhammer." He took the needle off the record. "The first drum set I had was made during World War II. It didn't even have metal. It had wooden rims. My drum sound was closer to that than it is to my sound now. I wasn't that aware of sound. Not like I am now." Piano Trio In 1955 Mr. Motian met the pianist Bill Evans. A few years later Evans formed his own trio, with Mr. Motian and eventually Scott LaFaro on bass, which destabilized the pyramid structure of the normal piano trio, increasing the mobility of the bassist and drummer around the leader. Mr. Motian loved it, especially when LaFaro was in the group, and it was steady work: his diaries from 1962 show that he played 251/2 weeks with Evans that year. Among their recordings was a genuine 20th-century landmark, "Sunday at the Village Vanguard." That period, the late 50's and early 60's, was the busiest of his life. Mr. Motian played often with other bandleaders too - Stan Getz, Lee Konitz, Lennie Tristano, Martial Solal, Zoot Sims, Eddie Costa, Johnny Griffin. For one week in Boston, in 1960, he got to play with Thelonious Monk. (Elvin Jones was supposed to be the drummer, but he went missing.) Mr. Motian chose Monk's version of "Carolina Moon," an old waltz commonly understood as cornpone. Monk rethought it when he recorded it in 1952. He plays the end of the waltz melody as a short piano introduction, and then bass and drums crash in, playing a speedy four-four. In the middle of the tune the drummer, Max Roach, slows down to midtempo four-four, but the soloists, Lou Donaldson, Kenny Dorham and Lucky Thompson, continue to play in three. Listening to it, Mr. Motian turned on like a lamp. He didn't have much to say; instead, he clapped and counted all the way through, laughing. Monk was an easy boss. He paid Mr. Motian $200 for the week, good wages, and didn't demand much. One night he asked Mr. Motian to sing him his cymbal beat. He did, and Monk thought about it and sang a corrected version back to him, with a tiny bit more emphasis on the last stroke of the triplet. One of His Idols Max Roach used to live a few blocks away from Mr. Motian on Central Park West, and has long been one of his idols. (Mr. Roach is seven years older.) When Mr. Motian finally joined the New York jazz scene, in 1955, Mr. Roach, who was the great drummer of bebop's first wave, was already taking that music into a new territory with the Clifford Brown-Max Roach Quintet. Mr. Motian saw the band play a lot. "I went to hear them once," Mr. Motian said of that group, "and I think Sonny Rollins was on tenor. I was with this bass player I used to play with a lot, Al Cotton, and he said: 'Look at Max. Watch: when he's playing he uses his whole body. He's exercising when he's playing. He's moving around. He's not just sitting there. It's not just in the wrist, in the hands. It's the whole body.' It was the mid-50's when I got turned on to that: the drums and me should be one thing, you know. It's part of me. From head to fingernails to the end of my toes, man. The drums, it's all me." He wanted to hear the Victor Young movie theme "Delilah," a midtempo minor-key ballad, from the Brown-Roach band's first album, recorded in 1954. It has incredible clarity: the definition of each section makes it shine like a hit pop song. "It's so organized, man," Mr. Motian said. "Arranged so beautiful. Simple, but great." There's a Max Roach solo in the middle, for an entire chorus. Just as Baby Dodds did - and just as Sid Catlett did on another tune Mr. Motian played for me that day, an out-of-print recording of "I Found a New Baby" - the drummer indicates the structure of the composition in his solo, changing his patterns to mark its divisions. I suggested that a thread was emerging here, kind of an unusual one. He smiled a little bit, and raised one eyebrow, and kept talking about Max Roach. "He plays different sections of a song, he points it out to you. No confusion at all. You know what I mean?" Kenny Clarke and Mr. Roach were the first great drummers of bebop, lining out the pulse on the ride cymbal rather than the bass drum; suddenly jazz drumming became higher-pitched, and more flexible. Mr. Motian idolized Clarke, too, and got to know him in Paris in the 1980's, a few years before Clarke died. Clarke played with a Miles Davis group for the 1957 soundtrack to the Louis Malle film noir "Ascenseur Pour l'Échafaud," and Mr. Motian is partial to the album. We listened to "Motel," a fast trio improvisation with trumpet, bass and drums, based on the chords of "Sweet Georgia Brown." Clarke plays with brushes on a snare drum, varying his patterns within the same rhythm all the way through. There's not one cymbal crash, no bass drum, but Clarke is dazzling. For a musician who likes to boil things down, it is justification. "Just to get so much music and so much feeling and so much swing from the minimum amount of drums, man: that's incredible," Mr. Motian said. "There's so much music there, just on a snare drum. It's like a symphony to me."

my sentiments, exactly!!!! thanks.

cleaning up.... why cant the generations just clean up after themselves?????? ben webster

http://www.studentaffairs.columbia.edu/wkcr/ guitarist grant green featured until 7pm eastern.

will be playing stans cool velvet and franklyn mccormaks

as for me, i'm waiting for the much more vital 751st reissue of teo's splicings of 'bitches brew' played upside down and backwards.

You can officially add #5 Oklahoma to that list. yes, stoops outstupided himself again by calling a timeout when baylor with none was playing for overtime.

agreed-thx

a group of 15 intelligent thoughtful folks on a committee invariably produce thinking unworthy of a baboon. and when they design things.... thinking is best left to individuals, not groups or seminars.

a little humor from of all places, the political site ace of spades... Joe Paterno Filled with Regret for Not Reporting Child Molestation and a Treatable Form of Lung Cancer, but Mostly a Treatable Form of Lung Cancer —Russ from Winterset Per CNN Actually, the CNN article contains a minor mistake. This cancer was NOT first diagnosed last week. A lab technician actually noticed the spots on an MRI image back in 2002, but didn't relay that information to the Paterno family. The technician told Paterno's doctor, and the doctor called a meeting with hospital administrators a week later and told them that the tech had seen "something of a cancerous nature, possibly cancerous horseplay". The doctor's son reportedly told reporters this morning that the whole hospital community is sorry for not telling Paterno about the cancer at the time, but they are convinced that the doctor did nothing wrong because he relayed the information to his superiors per hospital policy. Supposedly, hospital employees and former patients are going to riot tonight and destroy some news vans in solidarity with their beloved doctor.* very good, bunny. thanks for raising your hand.

link espn picked up the meyer to ohio state item from brooks, giving no credit, of source. brooks published Urban Meyer Story. SI links to it. ESPN has Urban Meyer comment, then runs same story but won't mention Brooks.

penn state is exempt from the penn. state open public records law. link

link

it used to be merely gross, exploitative, and financial--now it's criminal and sinister to who knows what depths. it just may be time to do a little more work on my record collection.

wherever the urb goes, he will take his record number of player arrests along--it was 50ish, as i recall at fla. it sure looks like the bucks are just bursting to get more probation.

http://www.sportsbybrooks.com/meyer-agrees-to-coach-buckeyes-building-staff-29902 Meyer Agrees To Coach Buckeyes, Building Staff Posted by Brooks on Nov. 18, 2011, 8:07pm Multiple sources close to the Ohio State football program have confirmed that Urban Meyer is assembling a coaching staff after agreeing to become the next head football coach at Ohio State. (9/3/2011: Meyer & Ohio St. Athletic Director Gene Smith at Ohio Stadium) The deal between Meyer and Ohio State was consumated in principle earlier this week in Columbus but not signed. It includes a multi-year contract that will make Meyer once again one of college football’s highest paid coaches. In additon to Meyer’s generous compensation package, sources said a major factor in the coach’s decision to agree to take the position was the school promising him the budget to assemble what is expected to become the highest-paid assistant coaching staff in college football history. Of that staff, sources indicate Meyer’s intial plan is to retain current Ohio State head football coach Luke Fickell and current Buckeye wide receivers coach Stan Drayton. Meyer also aims to add Chris Spielman, Kirk Herbstreit, current North Carolina State linebackers coach Jon Tenuta and current LSU offensive line coach Greg Studwara to his Ohio State staff. Studwara was offensive line coach for Bowling Green when Meyer was the head coach of the Falcons in 2001 and 2002. One source indicated Studwara is being considered by Meyer as possible offensive coordinator for the Buckeyes. Meyer was one of two candidates Ohio State contacted during its hiring process. Jon Gruden was also approached by the school, but declined interest. Photo credit: The-Ozone.net. Follow Brooks on Twitter or join him on Facebook for real-time updates This entry was posted on Friday, November 18th, 2011 at 8:07 pm and is filed under Brog,College Basketball, Sports Business , Media . You can follow any responses to this entry through the RSS 2.0 feed. Visited 13,179 times, 13,179 so far today You can skip to the end and leave a response. Pinging is currently not allowed.

i cannt abide 'rechanneled for stereo' ever under any circumstance. amen

Occupy Best Buy? when attending one of these 'festivals' a year or so ago at uncle wally(waiting for some rare jazz reissues for which there is herdly passion), word spread that police had been called to intervene in firearmladen 'discussions' at the next door bestbuy.

http://www.newser.com/story/133650/florida-woman-gets-in-line-at-best-buy-9-daysbefore-black-friday.html (NEWSER) – Sure, Black Friday isn't for another week, but it's tough to resist the siren call of cheap TVs... A Florida woman and three other families pitched tents in front of a Best Buy in St. Petersburg on Wednesday—yep, 9 days before the big day—and the eager shopper sounds not unlike an ad for the superstore: "You can't beat some of the deals they have on plasmas, flat screens, and laptops. You get to buy it in large quantities,” Christine Orta tells the local NBC affiliate. "We're all students; you've got to pinch a penny; it's affordable right now." But, the Consumerist wonders, how much is she paying to live there for nine days? (Here's the big question: Would you get in line now forthese "insane" deals?) Ads by Google Black Friday at JCPenney JCPenney.com/BlackFriday Don't Miss Black Friday Deals. Save Big at Day After Thanksgiving. Black Friday 52" TVs: $60 www.NoMoreRack.com/TVs Get a 52" LED TV for just $59.96. 1 Per Customer. Limited Quantities. Leaked Black Friday Ads BlackFriday.dealighted.com Black Friday 2011 is here, we have all the leaked ads and circulars. Kohl's® for the Holidays Kohls.com Love to Give, Happy to Save. Shop Kohl's this Holiday Season & Save! Florida's Best Retirement www.ontopoftheworldcommunities.com Florida's #1 Community — Request More Info Now

i call it black and white sound, to which my ears are well accustomed. the same can be said, to much greater degree, of black and white films.

november roses brahms german requiem http://www.youtube.com/watch?v=2z9yDVqcoC4

It's all too sordid for me. I haven't read any of the reports because the whole concept is disturbing. As a result, I'm out of the loop, but I think that's better for me than to read the stuff. I'm reminded of how all the sports websites had videos of Dan Wheldon's death two weeks ago. I love to see the wrecks when I know that no one is injured, but when someone is injured or killed, I want no part of that. a victim comes forward http://www.collegian.psu.edu/archive/2011/11/17/male_survivor_of_sexual_abuse.aspx

http://en.wikipedia.org/wiki/Elektro Elektro is the nickname of a robot built by the Pittsburgh-based Westinghouse Electric Corporation in its Mansfield, Ohio facility between 1937 and 1938. Seven feet tall, weighing 265 pounds, humanoid in appearance, he could walk by voice command, speak about 700 words (using a 78-rpm record player), smoke cigarettes, blow up balloons, and move his head and arms. Elektro's body consisted of a steel gear, cam and motor skeleton covered by an aluminum skin. His photoelectric "eyes" could distinguish red and green light. He was on exhibit at the 1939 New York World's Fair and reappeared at that fair in 1940, with "Sparko", a robot dog that could bark, sit, and beg. Elektro toured North America in 1950 in promotional appearances for Westinghouse, and was displayed at Pacific Ocean Park in Venice, California in the late 1950s and early 1960s. He also appeared as "Thinko", in Sex Kittens Go to College (1960), which starred Mamie Van Doren andTuesday Weld. In the 1960s, his head was given to a retiring Westinghouse engineer and his body was sold for scrap.[citation needed] In 1992, the dance band Meat Beat Manifesto produced the song "Original Control (Version 2)" which prominently featured snippets of Elektro's monologues, quoting lines such as "I am Elektro" and "My brain is bigger than yours". Elektro survived the scrap pile and is being restored by Jack Weeks. It is currently the property of the Mansfield Memorial Museum.

a point well taken here, jim ANOTHER OLD BIGTIME COVERUP Ex-SYRACUSE U. ballboy who claims asst coach Bernie Fine molested 1,000 times allegedly had a room in Fine's basement. Fine is married, w/ 2 kids.about 1 hour ago · reply · retweet · fav