Conception Vessel

Paul Motian

Product Details

• Audio CD (May 22, 2001)
• Original Release Date: 1972
• Number of Discs: 1
• Label: Ecm Records
• ASIN: B0000072D7
• In-Print Editions: MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon.com Sales Rank: #483,974 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

4.0 out of 5 stars Paul Motian Surprises Us, August 23, 2005

By	G B (Connecticut) - See all my reviews

This interesting album was Motian's first as a leader, from 1972. Though these days it's almost a cliche to refer to the "ECM sound", the label was very eclectic and diverse in its earliest years. Conception Vessel is no exception to that rule.

Motian's first two albums for ECM (Conception Vessel & Tribute) remind me of Tony Williams's two 60s albums for Blue Note; in each case, an extremely innovative drummer showed off his chops as a composer, and at the same time broke stereotypes about what a drummer-led session should sound like. Not unlike Williams's debut (Life Time), Conception Vessel includes an array of different lineups.

Two of the tracks include a trio of Motian, Charlie Haden and the underrated guitarist Sam Brown. (Sandwiched in between is "Ch'i Energy", a brief drum solo.) Brown plays acoustic on "Georgian Bay" and electric on "Rebica". This sound would be more fully realized on the 1974 album Tribute; the tracks start off somewhat aimlessly, but pick up in intensity and focus as they go along. "Rebica" in particular gets nice and wild in the end.

Two other tracks ("American Indian" and "Conception Vessel") feature Motian in a duo with his then-boss, Keith Jarrett. "Conception Vessel", one of Motian's most memorable compositions, is given a brilliant performance here. Motian's compositions seem to bring out the more abstract side of Jarrett's piano playing. "American Indian" is a brief, pleasant but throwaway track with Jarrett playing flute rather than piano.

The album's closer, "Inspiration from a Vietnamese Lullaby", is a quartet performance with Haden, violinist Leroy Jenkins, and flute player Becky Friend. The interplay between Jenkins and Friend is ecstatic and beautiful, creating a softer-toned variant on the 60s "New Thing". Haden's powerful, rich bass-playing anchors the performance (he plays great on the guitar-trio tracks as well) and Motian's restless drumming provides a lush carpet.

I think the album Tribute, recorded two years later with Haden and Brown returning to the lineup, is slightly better. But if you like Motian's other recordings as a leader, the other musicians on this date, or avant-garde jazz it's worth picking up.