I think it's safe to say that Paul Motian is the de facto house drummer at Jazz's holy house in NYC, the Village Vanguard. At the eighty year mark after a gig filled journey with all the great bebop luminaries of the past 50 years, he's more than earned the honor. Fact is, he only plays in NY now and why not? Let the world come to him; and it does.
Although I'm not sure "working band" is the most apt moniker in the usual sense of the term for his trio with alto saxophonist Greg Osby and pianist Masabumi Kikuchi - Motian enjoys the privilege of shifting his lineups with great frequency - they've played together for over a decade and the final night of their week long run at the Vanguard had all the hallmarks of old friendships rekindled.
I've heard some folks complain that Motian's gotten lazy in his playing. Motian hasn't changed at all. He plays with (literally) time not rhythm, his meter is pliable to the point of elusiveness and he swings like a motherfucker while not swinging at all. It's a glorious aural paradox.
Osby - one of the most underappreciated composers/mentors/performers on the scene today - and Kikuchi effortlessly shifted the sounds current throughout each tune.
The evening ended. The music stopped. But only on stage, not in my mind.