GORDON GRDINA/GARY
PEACOCK/
PAUL MOTIAN
Think Like the Waves
Songlines
Anytime you can be part of a trio with Gary
Peacock and Paul Motian, you’ve got to feel pretty
good about it. These two musicians form one of modern jazz’s
best rhythm sections, born out of a myriad of previous influences
and groupings. Peacock is probably best known for his work
with Keith Jarrett's longstanding standards trio, while
the ubiquitous Motian first came to prominence as part of
Bill Evans' trio, a group that redefined the jazz piano
trio.
Gordon Grdina is a Canadian guitarist and
oud player who has worked in a number of ensembles playing
jazz, improvisational music, and Arabic music. In 2000 he
sought out bassist Gary Peacock after a performance by the
Keith Jarrett Trio, and Peacock became his teacher and mentor.
Grdina started to become interested in the possibility of
combining his musical interests in one group, and the idea
came to fruition when Peacock helped enlist drummer Paul
Motian to create a trio. Peacock has long been interested
in Arabic music and its structure, and Motian’s renowned
fluid sense of time fit perfectly with the aesthetic Grdina
was imagining. The resulting CD, Think Like the Waves,
is a testament to the sublime music that can be created
by musicians who listen to each other and converse in the
moment. Featuring Grdina on both guitar and the suddenly
popular oud (both Rabih Abou
Khalil and Anouar Brahem have recent releases
featuring the instrument in a jazz setting), Think Like
the Waves is a tour de force performance by a group
whose playing seems as organic as breathing.
Neither Peacock nor Motian are fill-in-the-spaces
kind of guys, so on most tracks the rhythm is very fluid,
as would be expected. Grdina is able to ride these waves
easily, with Zen-like calm, as well as being able to switch
gears when one of the other instruments comes to the fore.
The compositions are all Grdina’s, and reflect his
interest in free form improvisation, more mainstream jazz,
and Arabic music. Sometimes the streams cross in unexpected
ways. For example, “Platform” has what seems
to be a readily identifiable Arabic melody, but that breaks
down repeatedly, taking the group into the realm of free
jazz with no obvious influences. On “Renunciation”
Grdina plays the oud, but at times sounds like a long lost
country blues performer. The instrumental mix don’t
dictate the type of flair that the music takes at any given
time. Instead it’s the temperament and imagination
of the musicians that take the music to a variety of different
realms, often within the same piece. “100 Years”
builds a nice rhythmic energy that is sustained throughout
while Grdina plays Eastern-flavored guitar lines that at
times sound reminiscent of John Abercrombie or Larry Coryell.
It seems obvious to state that this type of
freely improvised, low-key yet energized chamber sound would
be right at home on an ECM release since Peacock and Motian
have both recorded for the label, but that is certainly
the type of audience that will be seduced by Grdina, Peacock,and
Motian’s work here. Think Like the Waves
is an apt title, because Grdina, Peacock, and Motian behave
very much like a body of free-flowing water here—made
of individual drops capable of sparkling on their own, but
collectively able to produce rolling waves that come and
go, a never-ending cycle that becomes timeless. Highly recommended.
