All but one of the five pieces presented in this CD are Motion's own compositions, and show that adventurous side, drawing from some of the more avant garde influences the leader has picked up from his rich experiences. The opening "Standard Time" sounds like anything but, with an atonal, sax-led head that Motian underpins with some brilliant flourishes free of any discernible time signature. His cymbal work matches the moves of Grenadier's extended bass solo that follow the head until a 4/4 beat gradually emerges in time for Potter's and Osby's own solo turns.

Speaking of "standard," the only one found here, Tadd Dameron's "If You Can See Me Now," opens with some beautifully contemplative piano work by Kikuchi before Potter trades with Osby on some rather tender fours. "Morrock" once again finds Motian playing "free" as the sax section blurts out a recognizable theme untethered to time, a la Ornette Coleman. Although Motian is never playing alone, he is in essence soloing underneath the other players with a great deal of subtlety and shadings.

"Last Call" is another free-flowing head followed by some blowing by Potter, Osby and some urgent improvision from Kikuchi. The closing "Olivia's Dream" continues the same song pattern, but presents simultaneous solos by Potter and Osby.

In fact, if any criticism can be made about this album, it's that all of the compositions that are written by Motian's own hand are structured so identically, it's hard to tell them apart unless you are listening closely. There's some wonderful playing to be found throughout to be sure, but pretty much all of the ideas are pulled out of their bag of tricks by the third track. However, the record label Winter & Winter had recorded three album's worth of material out of this Village Vanguard engagement. One would expect that Volumes 2 and 3 will reveal more of Paul Motian's highly developed palette.

Live At The Village Vanguard, Vol. 1 is scheduled to be available stateside on September 4th.