The Montreal Tapes
[The set] begins with "Blues in Motian," with the pianist taking a playful, Monk-like spin that also includes a hint of rolling, Mary Lou Williams-style boogie-woogie. Haden's bass solo begins as a stop-and-go lesson in blues fundamentals and advances to some of his patented melodic permutations. Motian's drums introduce "Fiasco, the free-est piece," with Allen sending up Cecil Taylor-like flurries of notes, Haden bowing squeaks and snarls, and Motian offering vignettes of percussion. --Jazz Times