Search - Paul Motian, Chris Potter, Jason Moran :: Lost in a Dream

Lost in a Dream
Paul Motian, Chris Potter, Jason Moran
Lost in a Dream
Genres: Jazz, Pop
 
Once in a while, a jazz recording seems to announce itself as a "classic" from the first moment. Lost In A Dream is one such album. It documents the birth of a great new project, captured live at New York's celebrated Vill...  more »

     
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CD Details

All Artists: Paul Motian, Chris Potter, Jason Moran
Title: Lost in a Dream
Members Wishing: 9
Total Copies: 0
Label: ECM Records
Original Release Date: 1/1/2010
Re-Release Date: 3/9/2010
Genres: Jazz, Pop
Style:
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 0602527321325, 602527321325

Synopsis

Album Description
Once in a while, a jazz recording seems to announce itself as a "classic" from the first moment. Lost In A Dream is one such album. It documents the birth of a great new project, captured live at New York's celebrated Village Vanguard, with repertoire emphasizing Paul Motian's wonderful ballad writing. New Motian tunes are juxtaposed with older ones, and a free exploration of Irving Berlin's "Be Careful It's My Heart" completes a program distinguished by gloriously supple playing from all three participants who are in tune at a high level. Or, as the New York Times noted, reviewing the concerts from which this album was drawn: "The accumulated wisdom within the band was clear." Master drummer Motian (born 1931) is heard here with two much younger musicians: saxophonist Potter (born 1971, and with whom he shares already a long playing history), and pianist Moran (born 1975, with whom he had worked only once previously, in the context of a gig with violinist Jenny Scheinman in 2006). Motian noted Moran's particular idiosyncrasies and waited for the right context to deploy them, - he was especially taken with Moran's strong and active left hand figures which, in a trio context, could dispense with the necessity for a bassist. There is a cragginess in Jason Moran's piano playing that testifies to deep roots in Thelonious Monk, a quality that Motian - who played with Monk in the 1950s - was bound to identify with. Motian has a Monkish sense of stubborn independence: he remains the most unpredictable of drummers. In the flowing ballads of Lost In A Dream, Motian is as much a sound painter as a time-keeper. There is a lot of space in the music, used brilliantly by all three players. Chris Potter, long recognised as the one of the most outstanding saxophonists of his generation, delivers an extraordinarily inspired performance in the trio, playing with great emotional conviction. Each of the three musicians has a dedicated following. Moran's listenership has been expanded recently through much roadwork with Charles Lloyd's quartet (Lloyd's critically-hailed Rabo De Nube was Moran's ECM debut).

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CD Reviews

Lost in a Dream by Paul Motian
Davorin Dajèman | Slovenia | 04/17/2010
(5 out of 5 stars)

"Exellent jazz, very hard and new. all musicians are very good compositor and improvisator. I just like this music."
UNA OBRA MAESTRA
Manuel Grosso Galvan | Seville Spain | 04/03/2010
(5 out of 5 stars)

"DE NUEVO MOTIAN NOS DELEITA CON UNA OBBRA INCUESTIONABLE. EL TRIO ES PERFECTO; MOTIAN ,POTTER Y MORAN. ES SIN DUDA LA CONCRECION PERFECTA DE LO QUE HOY ES JAZZ. SENTIMIENTOS Y TECNICA UNIDOS POR ESA MAGIA QUE SOLO UN GRANDE DE LA MUSICA PUEDE LOGRAR. MUSICA MAGICA PARA UN ESPACIO MAGICO. PERFECTO. MANUEL GROSSO"
Backfield In Motian
Green Daniel | Hendersonville, TN United States | 06/28/2010
(4 out of 5 stars)

"Paul Motian may be the personification of teamwork. How does a drummer lead a band without turning the project into a drum showcase? The same way Bill Evans led his trios - putting equal emphasis on all three corners of the triangle. One of those corners was, of course, supported by Paul Motian for some time. This recording is an example of good lessons well learned. Beautiful music well played. Great musicianship well employed. "Lost In A Dream" is the sound picture of three superb musicians (Chris Potter, Jason Moran, and Motian) sharing the load, equally contributing to a single lovely statement. The "dream" effect is partially achieved by the wise decision to leave these performances bass free. There is no anchor, so the music floats freely. If there is reason to single out any particular performances here, it would be those of recording engineer, James A. Farber and producer Manfred Eicher for a live recording that defies psycho-acoustic logic. One would almost swear that the audience was overdubbed."