Paul Motian

[StarThrower]

I'll skip the ECM box since I've picked up Tribute, and Psalm in the past two years. I need to get the Soul Note box.

[Milestones]

I find that I like the trio of Motain-Lovano-Frisell (usually with a bassist added) doing standards, such as the Broadway series. The tribute to Bill Evans is also good, and so is "Monk in Motian."

[danasgoodstuff]

Did Motian play with Mobley? Perhaps this is a 6 degrees of Hank thing.

Let me know if you didn't get the gist of what I was saying.

I did not get it. Any relationship between Motian and Mobley?

Even I got what he was sayin', and I'm not particularly inclined to...

[JETman]

Did Motian play with Mobley? Perhaps this is a 6 degrees of Hank thing.

Let me know if you didn't get the gist of what I was saying.

I did not get it. Any relationship between Motian and Mobley?

Even I got what he was sayin', and I'm not particularly inclined to...

I don't know what to say other than those comments were made over two years ago, and they still apply............unfortunately.

[Carl Baugher]

The Soul Note box is very good.

[7/4]

I think I don't have one of the albums in the box, so I didn't run out and buy it. But I really like the titles I do have.

Edited April 9, 2013 by 7/4

[mjzee]

I noticed this anecdote as part of this article:

https://www.stereophile.com/content/why-do-you-need-all-those-microphones

Before recording at the Village Vanguard one evening, Paul Motian—okay, so I dropped a name—asked me why I had to use all of those microphones on the drums when they hadn't used nearly that many when recording the Bill Evans Trio at the same venue years before.

I motioned toward Geri Allen's piano and asked, "Did Bill Evans have a monitor speaker mounted on the piano to hear you and Scott?"

"No," Paul replied.

"Did Scott LaFaro play with an amplifier?" I asked, pointing to Charlie Haden's bass amp.

"No," Paul replied again.

"Did you use such a large drum kit, have a monitor speaker, and was a PA used in the Vanguard, back then?"

"No," replied Paul, yet again.

Well, that's why I need all of these microphones, for you, and Geri, and Charlie. It's to counteract all of these differences in performance since then." I knew that, when it came to mixing Live at the Village Vanguardfor Japan's DIW label (footnote 2), all three of them, Allen, Haden, and Motian, would each have a different perspective on how the recording should sound. If I didn't have all those aural perspectives, provided by all those well-placed microphones, I wouldn't be able to shape the sound they were all expecting.