Artist: Gordon Grdina, Gary Peacock, Paul Motian
Album: Think Like the Waves
Genre: Jazz
Release Date: 2006
Audio Format:: FLAC (tracks) 24 bit, 88,2 kHz
Duration: 58:28
Total Tracks: 14
Total Size: 1,12 GB

Tracklist:

1. Grdina/Motian/Peacock – Yellow Spot into the Sun (05:57)
2. Grdina/Motian/Peacock – Different Places (03:25)
3. Grdina/Motian/Peacock – Platform (03:31)
4. Grdina/Motian/Peacock – Renunciation (02:52)
5. Grdina/Motian/Peacock – Morning Moon (03:00)
6. Grdina/Motian/Peacock – Ginger Root (04:12)
7. Grdina/Motian/Peacock – 100 Years (05:40)
8. Grdina/Motian/Peacock – Distant (06:02)
9. Grdina/Motian/Peacock – Combustion (02:53)
10. Grdina/Motian/Peacock – Think Like the Waves (06:05)
11. Grdina/Motian/Peacock – Cobble Hill (04:18)
12. Grdina/Motian/Peacock – Albert the Monk (04:22)
13. Grdina/Motian/Peacock – String Quartet #6 (03:06)
14. Grdina/Motian/Peacock – Strathcona (02:58)

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The young, Vancouver guitarist and oud player Gordon Grdina sought out Gary Peacock after a Keith Jarrett concert in San Francisco in 2000, and for the next five years Gary became his mentor and teacher. At their last meeting at Gary’s house in upstate New York there was virtually no discussion, they just sessioned together for an hour or so, and the next day Gordon asked Gary if he would do a trio record. Gary agreed, and helped bring Paul Motian (another of Gordon’s musical heroes) into the picture. Recorded in Brooklyn in January, Think Like the Waves is a remarkable international jazz debut, full of compelling original tunes by Grdina and deep interaction by the trio.It’s not every jazz musician who doubles on guitar and oud (the centuries-old Middle Eastern forerunner of the mandolin), but Gordon Grdina makes the combination work. He brought 14 difficult originals to the studio for a recording session with veterans Gary Peacock and Paul Motian, drawing on his interest in blending elements of Arabic music and various jazz genres. When Grdina is playing oud, the songs often seem like they evolved spontaneously in the studio, especially the meandering “Platform” and the dark “Renunciation.” On guitar, Grdina’s gift for spaciousness and lyricism in the longing “Distant” sounds reminiscent of Jim Hall. The brooding “Cobble Hill” is another striking performance. While Peacock and Motian had their work cut out for them engaging this music, they provide terrific interaction with Gordon Grdina throughout the sessions.