Customer Reviews

Time and Time Again

5 star:		(2)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Paul Motian once again teams up with guitarist Bill Frisell and tenor saxophonist, Joe Lovano.
Each of these artists have done very well on their own, but their combined force is, as the platitude goes, far greater than the sum of its parts.
There's a genuine sense of luxuriousness to "Time And Time Again".
Whether it be the muted blue textures of Frisell's sensitive guitar passages or the sheer effervescent sparkle of Motian's cymbals, there's an uncommon richness of atmosphere to this recording.
Although predominantly made up of original compositions by Motian himself, the trio tackle a couple of standards in the shape of Rogers & Hammerstein's "This Nearly Was Mine" and Thelonious Monk's "Light Blue" and and Lovano's drifting "Party Line" to particularly great effect.
Throughout the album the mutual respect between these three players is abundantly evident, with no one voice intruding upon another.
Motian's own performance, in particular, remains remarkably accommodating to his fellow performers, allowing the compositions themselves to take centre stage.

The first few times I listened to this album, I was somewhat disappointed. It's grown on me a lot since then. Sonically it's quite similar to the trio's previous album on ECM, I Have the Room Above Her. There's lots of sophisticated, subtle interplay between the three musicians, but with a mellower, less explosive sound than their albums on JMT/Winter&Winter and Soul Note. Don't expect any squealing electric guitar by Frisell or free jazz screaming by Lovano.

Favorite tracks: some nice free-ish jousting on "Onetwo", the very melodic "K.T.", and Thelonious Monk's very funny "Light Blue". "In Remembrance of Things Past" is nice, but doesn't hold a candle to the very intense version recorded on Trioism.

I'd check out I Have the Room Above Her or some of their albums on JMT/W&W before this one, but if you like those albums then you will probably appreciate this one as well.

I'm going to try and keep this review short.

I have listened to this album several times, but I think this lacks the heartbreaking beauty of their previous album "I Have The Room Above Her." That album was really one of the best jazz trio albums I've ever heard well next to Bill Evans Trio - "You Must Believe In Spring."

Having said that, this album hasn't grown on me the way their previous release has. Another person mentioned the JMT/Winter and Winter releases and they are all great in particular the "On Broadway" series. Great modern takes on jazz standards.

The music on this album is almost in the same vein as "I Have The Room Above Her," but with a little bit emphasis on pure gorgeous beauty. I know they're just expanding on their concept, but I think they could've done so much better.

All the musicians are amazing and I'm all really big fans of: Paul Motian is the master of time and space. He never fails to display his own distinctive drumming style. Bill Frisell, who's one of my biggest influences, is one of the true innovators of jazz guitar. He has totally opened up a new sonic world to the masses. Frisell is also a virtuoso of texture. He always plays so tastefully, no notes are wasted. For Frisell, it's not about speed, it's about the music. Joe Lovano is an amazing saxophonist. I first heard him on Paul Motian's first album "Psalm" and then I was impressed with him, then I heard him on "It Shouldn've Happened A Long Time Ago" and was completely floored by his sound, technique, and how much feeling he puts into every note he plays. One of the true great saxophonist of our time.

"Time And Time Again" is not a bad album. The reason I'm giving it four stars is because I've much better music from this trio. I recommend this album if you like Motian's work with Frisell and Lovano.

From first cut (Cambodia) to last (Time and Time Again), Motian, Frissell and Lovano create exceptional, beautiful music. It may seem muted on first hearing, but tranquil it is not! Rather, these three master musicians, attuned to listening to each other by years of playing cooperatively, are constantly adjusting their playing to echo their partners, creating unusually exciting but subtle music. There is no stand out cut on this album: rather, the ten pieces create almost a suite of mutually reinforcing --and mind expanding-- pieces. I have never heard guitarist Frissell, a notoriously catholic and adventurous player, play better than he does with these two colleagues. Lovano plays softer than he does on some of his more rambunctious albums but, as always, with exceptional music intelligence. What can be said about Motian? He is in all respects a master percussionist, skilled at indirectness and hinting, great FUN to listen to. But then all three of them are fun to listen to. Their last outing, I Have the Room Above Him, was so good that Who would have believed they could top it. But they have.

Perhaps the most abstract expression of passionate commitment to music is this zen approach evinced by the remarkable efforts of Motion, Frisell and Lovano. From the opening strains of "Cambodia" until the end of the disc when it all seems to release itself into the ether time and time again, this is a sublime evocation of what finds solace deep in the human heart and soul. Certainly the other side of the pond from Michael Brecker's brilliant PILGRIMAGE, this disc nonetheless presents an open invitation to dwell deeply, poetically. It is the piety of thinking that finds its sojourn in this music and you will find yourself returning to this disc the rest of your life.
Nothing splashes, crashe sor reaches a boppish fever. The inflections are more subtle. By not stating something thematically, this trio speaks volumes. Even the chestnut, "This nearly was Mine" more evocatively presents what has escaped than what is common. Monk's "Light Blue" occupies that zone just before enlightenment arrives and is certainly a sonic approach to what Heidegger referred to as The Clearing.
This is an even finer CD than I HAVE THE ROOM ABOVE HER. It is waht is left unsaid that continues to haunt you long after you walk away from this disc.