Hot is a live album by Canadian jazz pianist Paul Bley recorded in 1985 and released on the Italian Soul Note label.^[1]

Reception[link]

The Allmusic review by Ron Wynn awarded the album 2½ stars stating "Excellent playing by Bley keeps things moving on this '85 date. The songs vary in quality, but Bley's moving, teeming solos are consistently impressive, and the production and sound are excellent".^[2]

Professional ratings
Review scores
Source	Rating
Allmusic	[2]

Track listing[link]

All compositions by Paul Bley except as indicated

1. "When Will the Blues Leave?" (Ornette Coleman) - 12:15
2. "Around Again" (Carla Bley) - 8:04
3. "How Long" - 5:03
4. "Mazatlan" - 10:50
5. "Syndrome" (Carla Bley) - 8:00

• Recorded at Lush Life in New York City on March 10, 1985.

Personnel[link]

• Paul Bley — piano
• John Scofield — guitar
• Steve Swallow — electric bass
• Barry Altschul — drums

References[link]

Paul Bley
Paul Bley recording solo piano in 2006
Background information
Birth name	Paul Bley
Born	(1932-11-10) November 10, 1932 (age 79)
Origin	Montreal, Canada
Genres	Free jazz Avant-garde jazz Post bop
Instruments	Piano
Associated acts	Charlie Parker, Lester Young, Charles Mingus, Sonny Rollins, Ornette Coleman, Jimmy Giuffre, Steve Swallow, Chet Baker, Gary Peacock, Paul Motian, Annette Peacock, Charlie Haden, John Scofield, Niels-Henning Ørsted Pedersen, Bill Frisell, John Abercrombie, Michael Urbaniak, Pat Metheny, Jaco Pastorius
Notable instruments
piano, Moog synthesizer, ARP synthesizer, Fender Rhodes

Paul Bley, CM (born November 10, 1932) is a pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing.

Biography[link]

Paul Bley was born in Montreal, Canada, his parents were Betty Marcovitch, an immigrant from Romania, and Joe Bley, owner of an embroidery factory.^[1][2] Bley has been a long-time resident of the United States. His music characteristically features strong senses both of melodic voicing and space.

In the 1950s he founded the Jazz Workshop in Montreal, performing and recording there with Charlie Parker. He also performed with Lester Young and Ben Webster at that time.

In 1953 he conducted for Charles Mingus on the Charles Mingus and his Orchestra album and the same year Mingus produced the Introducing Paul Bley album with Mingus and Art Blakey. In 1960 Bley recorded on piano with the Charles Mingus Group.

In 1958, he hired Don Cherry, Ornette Coleman, Charlie Haden and Billy Higgins to play at the Hillcrest Club in California.

In the early 1960s he was part of the Jimmy Giuffre 3, a clarinet, piano and bass trio with bassist Steve Swallow. The quiet understatement of this music makes it possible to overlook its degree of innovation. As well as a repertoire introducing compositions by his ex-wife Carla Bley, the group's music moved towards free improvisation based on close empathy.

During the same period Bley was touring and recording with Sonny Rollins, which culminated with the RCA Victor album, Sonny Meets Hawk! with Coleman Hawkins.

In 1964 Bley was instrumental in the formation of the Jazz Composers Guild - a co-operative organisation which brought together many free jazz musicians in New York: Roswell Rudd, Cecil Taylor, Archie Shepp, his ex-wife Carla Bley, Michael Mantler, Sun Ra, among others. The guild organized weekly concerts and created a forum for the "jazz revolution" of 1964.^[3]

Bley had long been interested in expanding the palette of his music using unconventional sounds (such as playing directly on the piano-strings). It was therefore consistent that he took an interest in new electronic possibilities appearing in the late 1960s. He pioneered the use of Moog synthesizers, performing with them before a live audience for the first time at Philharmonic Hall in New York City on Dec. 26, 1969.^[4]

This led into a period of the "Bley-Peacock Synthesizer Show", a group where he worked with songwriter Annette Peacock.

Subsequently Bley returned to a predominant focus on the piano itself.

During the 1970s, Bley, in partnership with videographer Carol Goss, was responsible for an important multi-media initiative, Improvising Artists which issued LPs and videos documenting the solo piano recordings by Sun Ra and other works of free jazz with Jimmy Giuffre, Lee Konitz, Gary Peacock, Lester Bowie, John Gilmore, Jaco Pastorius, Pat Metheny, Steve Lacy and others.

Bley and Goss are credited in a Billboard Magazine cover story with the first "music video" as a result of the recorded and live performance collaborations they produced with jazz musicians and video artists.

Bley was featured in the 1981 documentary film Imagine the Sound, in which he performs and discusses the history of his music.

Bley has continued to tour internationally and record prodigiously, with well over a hundred CDs released. In 1999 his autobiography, Stopping Time: Paul Bley and the Transformation of Jazz was published. In 2003 Time Will Tell: Conversations with Paul Bley was published. And in 2004 Paul Bley: la logica del caso (Paul Bley: The Logic of Chance) was published in Italian. In 2008, he was made a Member of the Order of Canada.^[5]

Discography[link]

This section requires expansion.

As leader[link]

America Records

• 1971: The Fabulous Paul Bley Quintet (Live recording from Hillcrest Club, Los Angeles 1958)
• 1972: Improvisie

ECM Records

• 1970: Paul Bley with Gary Peacock
• 1971: Ballads
• 1972: Open, to Love
• 1986: Fragments
• 1987: The Paul Bley Quartet
• 1991: In the Evenings Out There
• 1994: Time Will Tell (with Evan Parker and Barre Phillips)
• 1999: Not Two, Not One (with Gary Peacock and Paul Motian)
• 2000: Sankt Gerold (with Evan Parker and Barre Phillips)
• 2007: Solo in Mondsee

Freedom

• 1970: Dual Unity (with Annette Peacock, Han Bennink, Mario Pavone, Laurence Cook)^[6]
• 1975: Copenhagen and Haarlem (Live recordings 1965 and 1966)

Improvising Artists (Bley's own label)

• 1974: Jaco
• 1975: Quiet Song
• 1975: Alone, Again
• 1975: Turning Point (with John Gilmore, Gary Peacock, Paul Motian), orig. Savoy mono recordings, March 9, 1964
• 1976: Virtuosi
• 1977: Japan Suite
• 1977: Coleman Classics Vol. 1 (Four more tracks of the Hillcrest Club recording from 1958)
• 1977: Axis
• 1978: IAI Festival

Justin Time Records

• 1987: Solo
• 1991: A Musing (with Jon Ballantyne)
• 1993: Sweet Time
• 1993: Double Time
• 1993: Know Time
• 1994: Outside in
• 1996: Touche (with Kenny Wheeler)
• 2001: Basics
• 2004: Nothing to Declare
• 2008: About Time

Postcards Records

• 1994: Synth Thesis
• 1994: What If (with Bruce Ditmas as leader, John Abercrombie, Sam Rivers, Dominic Richards)
• 1996: Music for the Millennium (with Ralph Simon as leader, Gary Peacock, Julian Priester)

Soul Note

• 1983: Tango Palace
• 1983: Sonor
• 1985: Hot (with John Scofield)
• 1987: Notes (with Paul Motian)
• 1988: Live at Sweet Basil (with John Abercrombie)
• 1990: Memoirs (with Charlie Haden and Paul Motian)
• 1992: Mindset (with Gary Peacock)
• 1994: Chaos

SteepleChase Records

• 1972: Solo Piano
• 1973: Paul Bley/NHØP (with Niels-Henning Ørsted Pedersen)
• 1985: Questions
• 1985: My Standard
• 1986: Live & Live Again
• 1987: Indian Summer
• 1988: Solo Piano
• 1988: The Nearness of You
• 1989: Rejoicing
• 1989: Bebopbebopbebopbebop
• 1991: Plays Carla Bley
• 1992: Caravan Suite
• 1992: At Copenhagen Jazz House
• 1993: If We May
• 1994: Speachless
• 1995: Reality Check
• 1998: Notes on Ornette

Other labels

• 1953: Introducing Paul Bley (Debut)
• 1962: Footloose! (Savoy)
• 1964: Barrage (with Marshall Allen, Dewey Johnson, Eddie Gomez, Milford Graves), ESP
• 1965: Closer (with Barry Altschul, Steve Swallow), ESP
• 1965: Touching (Fontana)
• 1965: Blood (Fontana)
• 1968: Mr. Joy (Limelight Records)
• 1973: Scorpio (with David Holland, Barry Altschul), Milestone
• 1983: Tears, Owl Records
• 1990: Partners (with Gary Peacock), Owl
• 1993: Homage to Carla, Owl

As sideman[link]

With Jimmy Giuffre

• Thesis (1961)
• Free Fall (1962)
• Fusion (1962) all rereleased on ECM
• Emphasis & Flight 1961
• The Life of a Trio 2 volumes
• Fly Away Little Bird
• Conversations with a Goose, Owl Records

With Sonny Rollins

• Tokyo 1963 (Rare Live Recordings, 1963)

With Marion Brown

• Sweet Earth Flying (Impulse!, 1974)

With Charlie Haden

• 1989: The Montreal Tapes: with Paul Bley and Paul Motian (Verve)

With John Surman

• 1991: Adventure Playground (ECM)

References[link]

External links[link]

• Paul Bley homepage
• biography (in German and English) and bibliography (in English)

Chet Baker
Background information
Birth name	Chesney Henry Baker, Jr.
Born	(1929-12-23)December 23, 1929 Yale, Oklahoma, U.S.
Died	May 13, 1988(1988-05-13) (aged 58) Amsterdam, Netherlands
Genres	West Coast Jazz
Occupations	Trumpeter Jazz singer
Instruments	Trumpet Vocals Flugelhorn Piano[1]
Years active	1949–1988[2]
Associated acts	Gerry Mulligan Art Pepper

Chesney Henry "Chet" Baker, Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter, flugelhornist and singer.

In the 1950s, Baker earned much attention and critical praise, particularly for albums featuring his vocals, such as Chet Baker Sings. Jazz historian David Gelly descibed the promise of Baker's early career as seemingly representing "James Dean, Sinatra, and Bix, rolled into one."^[3] However, his "well-publicized drug habit"^[4] also drove his notoriety and fame, as Baker was in-and-out of jail for much of his life before enjoying a career resurgence in the late 1970s and '80s.

Baker died in 1988 in Amsterdam, the Netherlands.^[5]

Biography[link]

Early days[link]

Baker was born and raised in a musical household in Yale, Oklahoma; his father was a professional guitar player. Baker began his musical career singing in a church choir. His father introduced him to brass instruments with a trombone, which was replaced with a trumpet when the trombone proved too large.

Baker received some musical education at Glendale Junior High School, but left school at age 16 in 1946 to join the United States Army. He was posted to Berlin where he joined the 298th Army band. Leaving the army in 1948, he studied theory and harmony at El Camino College in Los Angeles. He dropped out in his second year, however, re-enlisting in the army in 1950. Baker became a member of the Sixth Army Band at the Presidio in San Francisco, but was soon spending time in San Francisco jazz clubs such as Bop City and the Black Hawk. Baker once again obtained a discharge from the army to pursue a career as a professional musician.

Career breakthrough[link]

Baker's earliest notable professional gigs were with saxophonist Vido Musso's band, and also with tenor saxophonist Stan Getz, though he earned much more renown in 1951 when he was chosen by Charlie Parker to play with him for a series of West Coast engagements.^[6]

In 1952, Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. Several things made the Mulligan/Baker group special, the most prominent being the interplay between Mulligan's baritone sax and Baker's trumpet. Rather than playing identical melody lines in unison like bebop giants Charlie Parker and Dizzy Gillespie, the two would complement each other's playing with contrapuntal touches, and it often seemed as if they had telepathy in anticipating what the other was going to play next. The Quartet's version of "My Funny Valentine", featuring a memorable Baker solo, was a major hit, and became a song with which Baker was intimately associated.

The Quartet found success quickly, but lasted less than a year because of Mulligan's arrest and imprisonment on drug charges. In 1956, Pacific Jazz released Chet Baker Sings, a record that increased his profile but alienated traditional jazz fans; he would continue to sing throughout his career. Baker formed quartets with Russ Freeman in 1953-54 with bassists Carson Smith, Joe Mondragon, and Jimmy Bond and drummers Shelly Manne, Larry Bunker, and Bob Neel. The quartet was successful in their three live sets in 1954. In that year, Baker won the Downbeat Jazz Poll. Because of his chiseled features, Hollywood studios approached Baker and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. He declined an offer of a studio contract, preferring life on the road as a musician. Over the next few years, Baker fronted his own combos, including a 1955 quintet featuring Francy Boland, where Baker combined playing trumpet and singing. He became an icon of the West Coast "cool school" of jazz, helped by his good looks and singing talent. Baker's 1956 recording, released for the first time in its entirety in 1989 as The Route, with Art Pepper helped further the West Coast jazz sound and became a staple of cool jazz.

Drug addiction and decline[link]

Baker was a heroin user from the 1950s for the remainder of his life, and eventually saw his musical career decline as a result. At times, Baker pawned his instruments for money to maintain his drug habit. In the early 1960s, he served more than a year in prison in Italy on drug charges; he was later expelled from both West Germany and the UK for drug-related offenses. Baker was eventually deported from West Germany to the United States after running afoul of the law there a second time. He settled in Milpitas in northern California where he played in San Jose and San Francisco between short jail terms served for prescription fraud.^[5]

In 1966, Baker was savagely beaten (allegedly while attempting to buy drugs) after a gig in San Francisco, sustaining severe cuts on the lips and broken front teeth, which ruined his embouchure. He stated in the film Let's Get Lost that an acquaintance attempted to rob him one night but backed off, only to return the next night with a group of several men who chased him. He landed finally in a car where he was surrounded. Instead of rescuing him, the people inside the car pushed him back out onto the street where the chase by his attackers continued, and subsequently, he was beaten to the point that his teeth, never in good condition to begin with, were knocked out, leaving him without the ability to play his horn. He took odd jobs, among them pumping gas. Meanwhile he was fitted for dentures and worked on his embouchure. Three months later he got a gig in New York.

Between 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as West Coast jazz.^[5]

Comeback and later career[link]

After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career, relocating to New York City and began performing and recording again, notably with guitarist Jim Hall. Later in the seventies, Baker returned to Europe where he was assisted by his friend Diane Vavra, who took care of his personal needs and otherwise helped him during his recording and performance dates.

From 1978 until his death in 1988, Baker resided and played almost exclusively in Europe, returning to the USA roughly once per year for a few performance dates.

Chet Baker with Stan Getz in 1983

This was Baker's most prolific era as a recording artist. However, as his extensive output is strewn across numerous, mostly small European labels, none of these recordings ever reached a wider audience, even though many of them were well-received by critics, who maintain that the period was one of Baker's most mature and rewarding. Of particular importance are Baker's quartet featuring the pianist Phil Markowitz (1978–80) and his trio with guitarist Philip Catherine and bassist Jean-Louis Rassinfosse (1983–85). He also toured with saxophonist Stan Getz during this period.

In 1983, British singer Elvis Costello, a longtime fan of Baker, hired the trumpeter to play a solo on his song "Shipbuilding", from the album Punch the Clock. The song was a top 40 hit in the UK, and exposed Baker's music to a new audience. Later, Baker often featured Costello's song "Almost Blue" (inspired by Baker's version of "The Thrill Is Gone") in his live sets, and recorded the song on Let's Get Lost, a documentary film about his life.

The video material recorded by Japanese television during Baker's 1987 tour in Japan showed a man whose face looked much older than he was; but his trumpet playing was alert, lively and inspired. Fans and critics alike agree that the live album Chet Baker in Tokyo, recorded less than a year before his death and released posthumously, ranks among Baker's very best. "Silent Nights", another critically acclaimed release, and Baker's only recording of Christmas music, was recorded with Christopher Mason in New Orleans in 1986 and released in 1987.

Chet Baker's compositions included "Chetty's Lullaby", "Freeway", "Early Morning Mood", "Two a Day", "So Che Ti Perderò" ("I Know I Will Lose You"), "Il Mio Domani" ("My Tomorrow"), "Motivo Su Raggio Di Luna" ("Tune on a Moon Beam"), "The Route", "Skidadidlin'", "New Morning Blues", "Blue Gilles", "Dessert", and "Anticipated Blues".

Death[link]

At about 3 am on May 13, 1988, Baker was found dead on Prins Hendrikkade, near Zeedijk, on the street below his second-story room (Room 210) of Hotel Prins Hendrik in Amsterdam, Netherlands, with serious wounds to his head. Heroin and cocaine were found in his hotel room, and an autopsy also found these drugs in his body. There was no evidence of a struggle, and the death was ruled an accident.

Baker's body was brought home for interment in the Inglewood Park Cemetery in Inglewood, California, USA. A plaque outside the Hotel Prins Hendrik now memorializes him.

Legacy[link]

Plaque in Amsterdam

Jeroen de Valk has written a biography of Baker which is available in several languages: Chet Baker: His Life and Music is the English translation, Chet Baker: Herinneringen aan een lyrisch trompettist (remembrances of a lyrical trumpet player) is the Dutch edition (updated and expanded in 2007),^[7] and it is also published in Japan and Germany. James Gavin has also written a biography: Deep In A Dream — The Long Night of Chet Baker. Baker's "lost memoirs" are available in the book As Though I Had Wings, which includes an introduction by Carol Baker.^[5]

Baker was immortalized by the photographer William Claxton in his book Young Chet: The Young Chet Baker. An Academy Award-nominated 1988 documentary about Baker, Let's Get Lost, portrays him as a cultural icon of the 1950s, but juxtaposes this with his later image as a drug addict. The film, directed by fashion photographer Bruce Weber, was shot in black-and-white and includes a series of interviews with friends, family (including his three children by third wife Carol Baker), associates and women friends, interspersed with film from Baker's earlier life, and with interviews with Baker from his last years.

Time after Time: The Chet Baker Project, written by playwright James O'Reilly, toured Canada in 2001 to much acclaim.^[8] The musical play Chet Baker - Speedball, explores aspects of his life and music, and was premiered in London at the Oval House Theatre in February 2007, with further development of the script and performances leading to its revival at the 606 Club in the London Jazz Festival of November 2007.

Baker was reportedly the inspiration for the character Chad Bixby, played by Robert Wagner in the 1960 film All the Fine Young Cannibals. He was also the inspiration for the lead character in Fabrizio Federico's film Black Biscuit. Another film, to be titled Prince of Cool, about Baker's life, was cancelled as of January 2008.^[9]

The song "Chet Baker", which appears on the 2007 CD Wally Page and Johnny Mulhern: Live at the Annesley House, by Irish folk singer-songwriter Wally Page, describes the end of Baker's life in Amsterdam.

Honors[link]

• In 1987 he was inducted into the Big Band and Jazz Hall of Fame.
• In 1989 he was elected to Down Beat Jazz Hall of Fame by that magazine's Critics Poll.
• In 1991 he was inducted into the Oklahoma Jazz Hall of Fame.
• In 2005 Oklahoma Governor Brad Henry and the Oklahoma House of Representatives proclaimed July 2 as “Chet Baker Day”.
• In 2007 Mayor of the City of Tulsa Kathy Taylor proclaimed December 23 as “Chet Baker Day”.

Discography[link]

References[link]

External links[link]

• Chet Baker Foundation
• Chet Baker at the Internet Movie Database
• Chet Baker at Find a Grave
• Encyclopedia of Oklahoma History and Culture - Baker, Chet

Steve Lacy
Steve Lacy in 1976
Background information
Birth name	Steven Norman Lackritz
Born	(1934-07-23)July 23, 1934
Origin	New York City, New York, United States
Died	June 4, 2004(2004-06-04) (aged 69)
Genres	Jazz, dixieland, avant-garde jazz
Occupations	Saxophonist
Instruments	Soprano saxophone
Associated acts	Henry "Red" Allen, Pee Wee Russell, George "Pops" Foster, Thelonious Monk, Mal Waldron, Roswell Rudd, Cecil Taylor

Steve Lacy (July 23, 1934 – June 4, 2004), born Steven Norman Lackritz in New York City, was a jazz saxophonist and composer recognized as one of the important players of soprano saxophone.^[1] Coming to prominence in the 1950s as a progressive Dixieland musician, Lacy went on to a long and prolific career. He worked extensively in experimental jazz and dabbled in free improvisation, but Lacy's music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer with a signature simplicity of style, with compositions often built out of little more than a single questioning phrase, repeated several times.

The music of Thelonious Monk became a permanent part of Lacy's repertoire after a stint in the pianist's band, with Monk's songs appearing on virtually every Lacy album and concert program; Lacy often partnered with trombonist Roswell Rudd in exploring Monk's work. Beyond Monk, Lacy performed the work of jazz composers such as Charles Mingus, Duke Ellington and Herbie Nichols; unlike many jazz musicians he rarely played standard popular or show tunes.

Biography[link]

Early life & career[link]

Lacy began his career at sixteen playing Dixieland music with much older musicians such as Henry "Red" Allen, Pee Wee Russell, George "Pops" Foster and Zutty Singleton and then with Kansas City jazz players like Buck Clayton, Dicky Wells, and Jimmy Rushing. He then became involved with the avant-garde, performing on Jazz Advance (1956), the debut album of Cecil Taylor, and appearing with Taylor's groundbreaking quartet at the 1957 Newport Jazz Festival; he also made a notable appearance on an early Gil Evans album. His most enduring relationship, however, was with the music of Thelonious Monk: he recorded the first album to feature only Monk compositions (Reflections, Prestige, 1958) and briefly played in Monk's band in 1960 and later on Monk's Big Band/Quartet album (Columbia, 1963).

Europe & sextet[link]

Lacy's first visit to Europe came in 1965, with a visit to Copenhagen in the company of Kenny Drew; he went to Italy and formed a quartet with Italian trumpeter Enrico Rava and the South African musicians Johnny Dyani and Louis Moholo (their visit to Buenos Aires is documented on The Forest and the Zoo, ESP, 1967). After a brief return in New York, he returned to Italy, then in 1970 moved to Paris, where he lived until the last two years of his life. He became a widely respected figure on the European jazz scene, though he remained less well known in the U.S.

The core of Lacy's activities from the 1970s to the 1990s was his sextet: his wife, singer/violinist Irene Aebi, soprano/alto saxophonist Steve Potts, pianist Bobby Few, bassist Jean-Jacques Avenel, and drummer Oliver Johnson (later John Betsch). Sometimes this group was scaled up to a large ensemble (e.g. Vespers, Soul Note, 1993, which added Ricky Ford on tenor sax and Tom Varner on French horn), sometimes pared down to a quartet, trio, or even a two-saxophone duo. He played duos with pianist Eric Watson. Lacy also, beginning in the 1970s, became a specialist in solo saxophone; he ranks with Anthony Braxton and Evan Parker in the development of this demanding form of improvisation.

Lacy was interested in all the arts: the visual arts and poetry in particular became important sources for him. Collaborating with painters and dancers in multimedia projects, he made musical settings of his favourite writers: Robert Creeley, Samuel Beckett, Tom Raworth, Taslima Nasrin, Herman Melville, Brion Gysin and other Beat writers, including settings for the Tao Te Ching and haiku poetry. As Creeley noted in The Poetry Project Newsletter, "There’s no way simply to make clear how particular Steve Lacy was to poets or how much he can now teach them by fact of his own practice and example. No one was ever more generous or perceptive."

Later career[link]

In 1992, he was the recipient of a MacArthur Fellowship (nicknamed the "genius grant").^[2]

He also collaborated with a truly extraordinary range of musicians, from traditional jazz to the avant-garde to contemporary classical music. Outside of his regular sextet, his most regular collaborator was pianist Mal Waldron, with whom he recorded a number of duet albums (notably Sempre Amore, a collection of Ellington/Strayhorn material, Soul Note, 1987).

Lacy returned to the United States in 2002, where he began teaching at the New England Conservatory of Music in Boston, Massachusetts. One of his last public performances was in front of 25,000 people at the close of a peace rally on Boston Common in March 2003, shortly before the US-led invasion of Iraq.

Lacy was diagnosed with cancer in August 2003, he continued playing and teaching until weeks before his death at the age of 69.

Discography[link]

with Mal Waldron[link]

As sideman[link]

References[link]

External links[link]

• Steve Lacy Discography from WNUR-FM

Paul Motian
Joe Lovano, Paul Motian and Bill Frisell in Rome
Background information
Birth name	Paul Motian
Born	(1931-03-25)25 March 1931
Origin	Philadelphia, Pennsylvania
Died	22 November 2011(2011-11-22) (aged 80)
Genres	Jazz
Occupations	Drummer, composer
Instruments	Drums, percussion
Associated acts	Bill Frisell, Joe Lovano, Bill Evans

Stephen Paul Motian^[1] (25 March 1931 – 22 November 2011)^[2][3] was an American jazz drummer, percussionist and composer of Armenian extraction.