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I Have the Room Above Her


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Audio CD, February 8, 2005
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
listen  1. Osmosis Part IIIBill Frisell 5:55$1.29  Buy MP3 
listen  2. SketchesBill Frisell 2:32$1.29  Buy MP3 
listen  3. Odd Man OutBill Frisell 4:13$1.29  Buy MP3 
listen  4. ShadowsBill Frisell 3:28$1.29  Buy MP3 
listen  5. I Have The Room Above HerBill Frisell 5:31$1.29  Buy MP3 
listen  6. Osmosis Part IBill Frisell 3:28$1.29  Buy MP3 
listen  7. DanceBill Frisell 4:02$1.29  Buy MP3 
listen  8. HarmonyBill Frisell 7:03Album Only
listen  9. The Riot ActBill Frisell 4:41$1.29  Buy MP3 
listen10. The Bag ManBill Frisell 5:33$1.29  Buy MP3 
listen11. One In ThreeBill Frisell 7:07Album Only
listen12. DreamlandBill Frisell 5:50$1.29  Buy MP3 

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Biography

Paul Motian convened this trio for a special project at New York’s Village Vanguard in February 2009. From a week of concert recordings, Motian and producer Manfred Eicher subsequently selected the material presented on Lost In A Dream. The album puts an emphasis on balladry, using ballads as vehicles for profound soloing and group playing. In these touching performances of Paul’s ... Read more in Amazon's Paul Motian Store

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Product Details

  • Audio CD (February 8, 2005)
  • Original Release Date: 2005
  • Number of Discs: 1
  • Label: ECM Records
  • ASIN: B0006TN8XQ
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (21 customer reviews)
  • Amazon Best Sellers Rank: #201,129 in Music (See Top 100 in Music)

Editorial Reviews

Product Description

Amazon.com

Paul Motian is a sterling example of a musician reaching new heights in their later years. Nearing 75, the drummer and composer continues to explore the innerworkings of the small combo. Frisell and Lovano have worked with him since the beginnings of their careers, decades ago. The interplay of this bass-less trio is remarkably sympathetic, as Frisell's guitar alternates between rhythmic underpinnings and atmospheric flights. There is a buoyancy to the music, whether it's on the gospel structure of "The Bag Man" or the bird-like "Dance" (a piece Motian recorded in the seventies for his album of the same name). The title track is the gorgeous ballad by Jerome Kern and Oscar Hammerstein, and underscores the traditional idioms which have contributed to Motian's unique voice. --David Greenberger

Customer Reviews

You can get a lot out of this album just by listening to him.
G B
The trio together explores adventurous territory with great intuition and sensitivity.
Krabby King
Frisell's guitar playing is beautifully articulated and understated.
P. Jackson

Most Helpful Customer Reviews

47 of 48 people found the following review helpful By G B on April 25, 2005
Format: Audio CD
In the liner notes to another ECM album, a musician (Edward Vesala, I think) suggests that playing "free ballads" is one of the hardest things to do in jazz. I guess it has to do with reconciling the tension between free or avant-garde playing and the sensitivity necessary to pull off a great ballad performance. I only mention this because I think the three musicians on this CD do a great job of reconciling these two tensions, offering what's essentially a "ballads" album containing adventurous and challenging improvisation.

The album starts out slowly, with "Osmosis Part III" sounding like we're joining things about halfway through. It sounds like 3 am and the musicians are quietly lamenting some great loss. The next few tunes, with the exception of "Odd Man Out", all proceed at a very relaxed, dreamy pace. There's a beautiful interpretation of the title tune and another, shorter version (excerpt?) of "Osmosis" to close off the first half. The second half of the album is more up-tempo, and the individual songs better defined. "Dance" is a classic Motian tune, hummable yet convoluted, with some feisty interplay between the trio. "Harmony" starts out as a Motian-Lovano duet, one of the few tunes here that contains a really linear pulse. Lovano's playing on this tune is all about quiet, controlled intensity. "The Riot Act" is the tune where Frisell dips into his effects most heavily (though he does it in a more subtle fashion on other parts of the album). "One in Three" is an unusual mix of alternating ballad and intense non-ballad sections. The album closes in a melodic fashion with "Dreamland".

As other people have commented, Bill Frisell is at his "jazziest" here -- a few effects here and there, plenty of his characteristic twang.
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67 of 71 people found the following review helpful By Jan P. Dennis on February 9, 2005
Format: Audio CD
Featuring mostly dreamy, spacey balladlike tone poems, I Have the Room Above Her creates an alluring aural palette that by turns beguiles, mesmerizes, and mystifies. This magical music operates in territory not unlike that of late nineties Charles Lloyd (specifically, Voice in the Night) with Frisell spinning out moody Abercrombie-isms, Motian channeling the spirit of the great Billy Higgins, and Lovano digging into the very darkest heart of his instrument and uncovering balladic statements of such depth and poignancy as to nearly wring tears from the listener. The result: 3-in-the-morning heartbreak music of immense proportions.

The title tune, a lovely line by Jerome Kern and Oscar Hammerstein, here handled with a delicate despair, conjures up an entire world of longing, perfectly captured in the crepuscular disc sleeve photograph. With but little imagining an entire cinematic drama of loneliness and desperation set amid urban squalor unfolds in one's head as the evocative tunes ("Odd Man Out," "Shadows," "Dance," "The Riot Act," "The Bag Man," "One in Three") spin by. As the never-to-be star-crossed romance slouches away from the imaginary film's protagonist, the music takes on an edgy, brittle dissonance, and we're left with the wistful remnants of a ghostly "Dreamland."

Gorgeously engineered by James A. Farber assisted by Aya Takemura, and produced by the inimitable Manfred Eicher, this represents a high point in the ECM catalog, making it one of the finest jazz recordings of all time. Anyone even slightly drawn to the dusky jazz so brilliantly realized here will want to check out this very special disc.

Highest recommendation.
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12 of 12 people found the following review helpful By Jazzcat on November 14, 2005
Format: Audio CD
A superb performance by three exceptional players which seem telepathically linked. These three men can create lakes of notes, sea of notes where you can swim freely with your mind, where you can get lost. The sense of a big space is something that you can immediatly perceive from the first notes of this recording. And it's not a mere case because you have here two of the best players when atmosphere time comes, Bill Frisell (with his nice ambient, chorused, bell like guitar tone ... and with his nice open, unresolved and suspended chords) and Paul Motian (delicate and creative in his approach to the drum set). They can create here at their best, without the firm pulse of a double bass (there isn't one at all by the way). So here they litirally paint scenaries in space, they create watercolours of notes, sounds tapestries on which Joe Lovano superimpose melodies and comments like words, sentences, thoughts with nice melancholy. This is a spectacular recording even from an hiend enthusiast point of view. The stage is big, very dimensional, the listening session very satisfying. Few tunes break for a little the sense of pace of the recording, for instance the third, "Odd man out" which speaks a more earthly language. Or the standard tune "I have the room above her" ... more romantic and less spacial, less ethereal. Or also in "Dance" which as the title state, we find ourselves obviously more in a "free, atonal jazz" type of context, with more rhythmic figures going on, more impulse, a sense of urgency. But with "Shadows" for example we are again shoot in space. Let your thoughts run freely while you enjoy the delicate and intimate atmospheres, these three master musicians can create. "The most legitimate of all poetical tone is melancholy." Edgar Allan Poe
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