List: Jazz and the Single Man

Floating around social networks this week was an essay by Jason Moran listing five essential jazz albums (recorded by living musicians - so you could actually see them live) every man should own. Why should he own these albums? To impress women,* of course. Here is Moran's list. I think it's a good start, but it veers into jazz boyfriend territory (Ornette? Free Jazz? I don't know many people of either sex who can handle Ornette, bless their simple hearts and minds). So in the interest of choice, here's my list of 5 jazz albums every single man should own.


Robert Glasper, Double Booked. Moran and I agree on this one. Glasper's deftly amalgamated jazz, with flourishes of hip hop, fusion, funk, and postbop, can hook anyone who claims ignorance on modern jazz. I've been touting this album to my friends for the past two years, and it connects with just about everyone. Plus, Glasper tours with Maxwell, a spoonful of sugar to hide preconceived notions about jazz if ever there was one.

Greg Osby, Jason Moran, et al, New Directions. Sadly out of print, but there are copies to be had on Amazon. Not a bad choice to play for someone who is at least a little familiar with jazz, since they would likely recognize a few of the reworked classics from the Blue Note era on this disc. I highly recommend the Moran-Stefon Harris duet on Sam Rivers' Beatrice.

Sonny Rollins, Saxophone Colossus. Moran picks a great Wayne Shorter album, but I was always more of a Sonny guy myself, and if a lady can't dig Newk, then she is most definitely not worth your time.

Paul Motian, Joe Lovano and Bill Frisell, Time And Time Again. For quiet moments, you can't beat the master of subtle intensity. Frisell's atmospheric guitarisms set the mood for Lovano's gruff tenderness. This trio to me embodies a particular strain of masculinity that is equal parts vulnerable and assertive.And no other group better demonstrates the sublime intensity of free improvisation, despite playing such pretty music.

Medeski Scofield Martin & Wood, Out Louder. Sometimes you have to dance. This should do the trick.

*Would a list of jazz albums for women to impress men look a lot different? What about jazz for gay men or lesbians? Obviously the answer is yes, but I'm pleading ignorance here.

Review: Lost in a Dream

Paul Motian

Lost in a Dream

I'm gonna stay with the youngsters. When these get too old, I'm gonna get some younger ones. Keeps the mind active. -Art Blakey, A Night At Birdland, Vol. 2

I was thinking of Art Blakey's words when I picked up the new Paul Motian album. Having been long celebrated for his trio with Joe Lovano and Bill Frisell (among many other projects), Motian now finds himself also touring with another pair of youngsters in saxophonist Chris Potter and pianast Jason Moran. As with his work with the former, Motian's trio with the latter reiterates his status as the foremost musical heir to former employer Bill Evans. Evans freed up the piano trio with Motian and bassist Scott LaFaro, giving immense freedom to each member of the trio. Motian has taken Evans' impulse a few steps further, giving each member of his trio complete freedom.

I am rarely as predisposed to like an album as I am with Lost in a Dream, but I cannot say that Motian, Moran, and Potter did not follow through on their potential. At their best moments, like nearly five minutes into Casino, when Potter builds up to a Coltranesque wail over Moran's plaintive chords and Motian's dirge-like pulse, they are truly sublime. The three have enough personality and fertile minds between them to make such free music and a loose organizational structure work. Moran has been one of the most rewarding pianists to listen to over the past decade, while Potter's consistency is rare among today's musicians (I cannot think of a single project of his that I have not liked). Motian is in good company, which pays dividends throughout the album.

As much as I am sure to keep enjoying this album, I cannot escape the wish that Motian had employed a more groove-like feel every once in awhile. He comes closest on the title track, but it is much too subtle to feel like a departure from the rest of the album. However, this is but a minor inconvenience in an album that seems destined to age well.


Track Listing: Mode VI; Casino; Lost In A Dream; Blue Midnight; Be Careful It's My Heart; Birdsong; Ten; Drum Music; Abacus; Cathedral Song
Personnel: Paul Motian, drums; Chris Potter, saxophone; Jason Moran, piano