Conception Vessel (2023 Remaster) Paul Motian

• 1 Georgian Bay 07:31
• 2 Ch'i Energie 02:34
• 3 Rebica 11:11
• 4 Conception Vessel 07:43
• 5 American Indian: Song Of Sitting Bull 02:41
• 6 Inspiration From A Vietnamese Lullaby 09:42
• Total Runtime 41:22

Info for Conception Vessel (2023 Remaster)

With ECM’s encouragement drummer Paul Motian takes his first steps as project leader and composer, and an extraordinary album is realized. On the heels of the recording’s release in 1973, Stereo Review lauded Paul Motian, calling him “a modern traditionalist who can turn a set of drums into an orchestra without overshadowing his fellow players.” This debut is exemplary of this unique quality.

Considering that Paul Motian was 41 when he recorded Conception Vessel, it’s clear to see why his disposition was so amenable to the dawn. As a human being, his voice had already come into its own and needed only the blessing of the score to give it shape without words. Then again, there are the titles, which for all their naked evocativeness retain an enigmatic patina. “Georgian Bay” congeals with the steady plucking of guitarist Sam Brown, who cuts a striking, if subtle, figure across the album’s filmic canvas. Supported only by a smattering of cymbals and Charlie Haden’s crab-walking bass lines, the tune betrays little of Motian’s prowess, saving it instead for “Ch’i Energy,” a flurried solo through which his centrality blossoms in non-confrontational power. This makes the looser affair of “Rebica” all the more lyrical. Haden is in peak form in this guitar-bass-drums setting. One moment finds him providing ground support, while in the next he has already ventured off into more airborne ruminations. Brown returns after a pensive resistance, flirting with the music’s surface like a drowsy Derek Bailey. The title track raises the curtain for Keith Jarrett’s spotlight, which strangely does little to change the album’s surface texture. Despite a lack of (discernible) melody, the interplay between piano and drums yields talented ramifications. Though not the easiest piece of music to put one’s finger on, Jarrett’s fiery exuberance as he whoops his way along makes it one of the most intriguing cuts on the bill. The flute and percussion of “American Indian: Song Of Sitting Bull” draw up a suitable contract for the pianist’s wind-work in combination with Motian’s rattlesnake maracas. “Inspiration From a Vietnamese Lullaby” adds bass and the violin of Leroy Jenkins to the same in the interest of new improvisatory heights. These are exactly the kind of rituals that Jarrett lived for in the 70s (see his recently unearthed Hamburg ’72, also with Haden and Motian), and the oracle-like qualities of their architecture hold up well beneath the weight of time.

Despite being headed by a drummer, Conception Vessel eschews the trappings of mundane grooves as indication of Motian’s lifelong mapping of branches over roots. The jacket art again proves instructive, describing a sound oriented toward invisible directions yet which is also mothered by the soil. It is furthermore a worthy example of ECM’s early sound and openness to those at the head of the line who share the label’s ongoing passion for pushing, if not defining, boundaries.

"This is Motian's debut as a leader. It includes ambitious cuts with guitarist Sam Brown and also features pianist Keith Jarrett." (Ron Wynn, AMG)

Paul Motian, drums, percussion
Keith Jarrett, piano (track 4), flute (track 5)
Sam Brown, guitar (tracks 1, 3)
Leroy Jenkins, violin (track 6)
Becky Friend, flute (track 6)
Charlie Haden, bass (tracks 1, 3, 6)

Recorded November 25 & 26, 1972 at Butterfly and Sound Ideas Studios, New York
Produced by Manfred Eicher

Digitally remastered by Christoph Stickel

Paul Motian - The Drummer
A masterfully subtle drummer and a superb colorist, Paul Motian is also an advanced improviser and a bandleader with a taste for challenging post-bop. Born Stephen Paul Motian in Philadelphia in 1931, he grew up in Providence and began playing the drums at age 12, eventually touring New England in a swing band. He moved to New York in 1955 and played with numerous musicians — including Thelonious Monk, Lennie Tristano, Coleman Hawkins, Tony Scott, and George Russell — before settling into a regular role as part of Bill Evans' most famous trio (with bassist Scott LaFaro), appearing on his classics Sunday at the Village Vanguard and Waltz for Debby. In 1963, Motian left Evans' group to join up with Paul Bley for a year or so, and began a long association with Keith Jarrett in 1966, appearing with the pianist's American-based quartet through 1977. In addition, Motian freelanced for artists like Mose Allison, Charles Lloyd, Carla Bley, and Charlie Haden's Liberation Music Ensemble, and turned down the chance to be John Coltrane's second drummer. In 1988 Motian moved to JMT, where he recorded a long string of fine albums beginning with Monk in Motian. During the 90s, he also led an ensemble called the Electric Bebop Band, which featured Joshua Redman. In 1998, Motian signed on with the Winter & Winter label, where he began recording another steady stream of albums.

Bill Frisell- Guitar
Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. Later, Bill studied music at the University of Northern Colorado before attending Berklee College of Music in Boston where he studied with John Damian, Herb Pomeroy and Michael Gibbs. In 1978, Frisell moved for a year to Belgium where he concentrated on writing music. In this period, he toured with Michael Gibbs and first recorded with German bassist Eberhard Weber. Bill moved to the New York City area in 1979 and stayed until 1989. He now lives in Seattle.

"When I was 16, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix", Frisell told Wire. Bill also lists Paul Motian, Thelonious Monk, Aaron Copland, Bob Dylan, Miles Davis and his teacher, Dale Bruning, as musical influences.

This album contains no booklet.