mercoledì 23 novembre 2011

Un ricordo di Paul Motian da parte di suoi colleghi

Il bel jazz-blog del Ottawa Citizen ha pubblicato le dediche di alcuni grandi musicisti, che hanno voluto ricordare Paul Motian con il quale hanno collaborato nel corso della sua lunghissima carriera.

Chris Potter:
Paul Motian’s sense of intuition as a drummer was on such a high level, it forced me to bring that aspect of my playing to a higher level whenever I played with him. Anything “intellectual” or half-baked sounded very false when playing with Paul, because his music was coming from such a deep place. He taught me many important musical lessons early in my career, and he became a source of inspiration for all the young musicians who he generously chose to work with in the last phase of his career. Of course I’m saddened by his passing because I’m going to miss him and his music, he meant a great deal to me. On the other hand, I think he had a very well-spent life, and that will always be a source of joy and inspiration to me.

Joe Lovano:
Paul’s passion and inspiration in music was fueled by his associations and collaborations with the most creative improvisers in Jazz, which made him one of most influential mystical and magical musicians of all time. Paul was a hard-swinging free jazz drummer with an uncanny sense of time, phrasing and form beyond description. His sound and touch were unmatched and personal.
Playing and knowing Paul over the last 30 years under his leadership in multiple quartets, quintets and in trio with Bill Frisell since 1984 has been the foundation of my development as a leader and composer. I will celebrate Paul Motian’s inspiration and influences in all of my future explorations in music for the rest of my lifetime. God bless you Paul.

Marilyn Crispell
I just found out [Tuesday] morning that Paul had been sick, and am still in shock over his death.  He was  complex, private, funny, loved to shop (I once talked him out of buying a $200 joke toilet seat filled with nails, and was subsequently talked into buying an expensive pair of sunglasses I didn’t really want, which made me look like an axe murderer, and which I gave away as soon as I got home). He loved children, and often invited his neighbor’s children to come to his gigs.  He could be grumpy, and then suddenly say, “Don’t pay any attention to what I say.” He would always say exactly what he thought at any given moment. There was no artifice about him.
I don’t have to tell you what a great drummer, musician, composer he was.  His compositions are simple, concise, and leave a great deal of room for personal interpretation, which makes them a lot of fun to play. I will continue to play them, even in his absence.  I will miss him so much. We hadn’t spoken in several years. I kept meaning to call him and see how he was. I never had a chance to say goodbye.  I’d hoped we would play together again someday. There isn’t a drummer who can replace him. He was absolutely unique. He could bring out the character of a piece by playing something completely opposite, yet complimentary. He didn’t like to rehearse.  He would always say, “I’ll just listen,” and he always did.
He made me angry, he made me laugh, and together we played a lot of beautiful music. Wherever he is, I hope he can feel my love and my gratitude, and know that he will never be forgotten.

Marc Copland
Paul was one of the last great jazz iconoclasts.  He really didn’t give a damn about what anybody thought, he just went ahead with his thing.  He played so loose….you can really hear it on the now-legendary Bill Evans live at the Vanguard.  And he was one of the very best at playing free.  It’s difficult to imagine that jazz drumming would have evolved the same way without him.

Frank Kimbrough
Paul Motian was a master musician/composer, and bandleader. He was uncompromising, crusty at times, but under that crust it was all marshmallows. He always gave 100 per cent to whomever he was working with;  in 30 years of hearing him I never heard him phone it in, or have a bad night.  He was traditional and modern all at once, and though he drew from the entire history of the music, he only sounded like himself. In the ’50s, ’60s and ’70s he was the consummate sideman, playing with Monk, Tristano, Bill Evans, Paul Bley, Keith Jarrett and so many more, enlivening their music with his playing.  In the past 30 years, he became a prolific composer, and brought countless young musicians up through his bands.
Playing with him was a joy — no discussion required.  He gave us all so much, and we are all indebted to him forever.

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