A departure for Cuban-American drummer Francisco Mela, known for his work with John Scofield, Motions Vol. 1 is a two-part session of free improvisation. It's also more directed towards the concepts of Taiwanese-American pianist Shinya Lin, who draws creative influence from John Cage and Cecil Taylor.

Properly titled since the textures expressed by Mela's drum kit and Linn's prepared piano are almost constantly in motion, only a few silent interludes precede Lin's quavering additionally vocalized yells, yodels or replicating bird squawks. While Cage's ideas of allowing some musical elements to be determined by the players are openly expressed in free improvisation like this one, Taylor's influence is more pronounced. Propelling contrasting dynamics as he stops and starts ragged expositions, Lin's jagged clips on the piano's highest-pitched keys are almost pure Taylor. Still his equivalent forays towards soundboard echoes while key stopping and juddering metal implements on the piano's prepared internal strings confirm his individuality. Sympathetic throughout, Mela's response to the pianist's inner string strumming or metronomic patterning is suitably laid back. Rim shots, snare accents and cymbal clanks are common, while the emphasis on wood, skin and wire from both players confirms the foreground acoustic properties of their instruments.

During the intense and protracted "Part 2", the stop-time continuum that propels the piece becomes faster and louder with staccato keyboard runs and prominent percussion drags and ruffs emphasized. Shudders and vibrating patterns from both are repeated as the piano's wooden frame is vibrated along with metronomic key shifts. Conflating dual dynamics, emphasized drum slaps and brush wisps confirm the ending. That's the ending not the end, as Vol. 1 in the title suggests. Curiosity remains as to what the two will create on Vol. 2.