by Alex Henderson
Some improvisers prefer a comfort-zone approach to jazz; in other words, they find a style of jazz they're comfortable with and stick to it -- which isn't necessarily a bad thing. Scott Hamilton's comfort zone, for example, is a swing-to-bop style that recalls the mid-'40s. The tenor saxman has never been groundbreaking or innovative, but he's undeniably superb at what he does. While the comfort-zone approach works well for a traditionalist like Hamilton, drummer Paul Motian is impressive in a very different way -- he's the sort of thrill-seeker who enjoys the challenge of hurling himself into a variety of musical situations. Recorded in Tokyo, Japan in 1991, Paul Motian in Tokio finds Motian leading a trio that boasts Bill Frisell on electric guitar and Joe Lovano on tenor sax; piano or keyboards and bass are absent, but neither are missed. In Tokio isn't among Motian's essential recordings, although it's a decent album that draws on influences ranging from Keith Jarrett and the ECM Records catalog to Ornette Coleman. In fact, one of the tunes is &Kathelin Gray,& which Coleman and Pat Metheny wrote for their Song X collaboration in 1985. But most of the material was written by Motian himself and easily lends itself to an inside/outside approach. Although cerebral, abstract and avant-garde, In Tokio is far from an exercise in atonality -- and it certainly isn't harsh or confrontational in the way that a free jazz firebrand like Charles Gayle is harsh and confrontational. Actually, the songs tend to have a floating quality, and Motian's trio demonstrates that outside playing can be reflective rather than in-your-face. Again, In Tokio isn't a five-star masterpiece, but it's a likable of Motian's association with Frisell and Lovano.