McCoy Tyner Albums (75)
What The Critics Say
Although McCoy Tyner has never been well known for playing with guitarists, there have been precedents. Technically on the electric mandolin and amplified guitar, John Abercrombie was part of the 4 X 4 sessions, acoustic guitarist Earl Klugh was a participant on the Inner Voices recording, Ted Dunbar was in the group for Asante, and Carlos Santana joined Tyner for the ill-conceived album Looking Out. Tyner prominently accompanied Grant Green for legendary Blue Note label classics. So this may not be a new thing, but certainly something the great pianist has been removed from in general terms. Guitars pairs Tyner and his reunited bulletproof trio of bassist Ron Carter and drummer Jack DeJohnette with contemporary performers Marc Ribot, John Scofield, banjoist Béla Fleck, Derek Trucks, and Bill Frisell. The results are mixed no matter which string player you favor, with Tyner's role as a legend surely intimidating any of his disciples to a degree. But for these recordings, the sound and feeling of the end product is clearly decipherable. Ribot especially seems out of place, resorting to power chords during "Passion Dance," but rebounding on the soulful version of "500 Miles" and rallying on the peaceful but electrified "Improvisation 1." With Derek Trucks, Tyner's basic "Slapback Blues" is treated as the title suggests, while the 3/4 "Greensleeves" is typical, but the raga approach that Trucks emphasizes in his band would have been a welcome choice. Scofield is clearly the most comfortable with Tyner, swinging easily through "Mr. P.C." and playfully skirting away from the line of "Blues on the Corner." On his three tracks, Fleck is surprisingly the most compatible, working with a deep modal Middle Eastern feel on "Tradewinds," flying fleet and much quicker than the pianist during "Amberjack," and evoking "My Favorite Things" in a quaint mood. The two pieces with Frisell merge together as one in an homage to the world guitarist Boubacar Traore, with "Boubacar" meditative before the rhythm section explodes, then the loose "Baba Drame" works as an extension. Whereas Tyner's playing these days is beyond reproach, and the contributions of Carter and DeJohnette are always welcome, there's an aura of true amity on most of the tracks, but an imbalanced awkwardness on others. An accompanying DVD with various camera angles provides perspective and insight into how this music was created, but also where Tyner's giant visage might dwarf some of these plectrists, and not others. It's an interesting slice in time, but not a definitive recording in Tyner's legendary and lengthy musical career. ~ Michael G. Nastos, All Music Guide
What The Critics Say
McCoy Tyner recorded five albums for Telarc, beginning with 1999's McCoy Tyner & the Latin All-Stars and ending with 2004's Illuminations. While no one would ever argue that these were the high points of a career that reaches back half-a-century and includes a legendary stint with John Coltrane, the Telarc recordings were all solid affairs and Tyner's genius was still quite evident throughout. Afro Blue is an eight-song compendium that draws material from all five of those releases, providing a neat summation of Tyner's output for the label. Never one to rest on his laurels, Tyner continued to push forward at a time in his life when he could easily have coasted. The 12-and-a-half-minute title track, from the Latin set, sports an easy groove within which tidy but inventive solos from pianist Tyner and flutist Dave Valentin are propelled by an insistent battery of percussion. "If I Were a Bell," the Frank Loesser standard, is a showcase for the always intoxicating vibes of Bobby Hutcherson, and the rhythm section of Stanley Clarke on bass and Al Foster on drums kicks "The Night Has a Thousand Eyes" into high gear and keeps it there. George Gershwin's "Summertime," a song so overdone it never needs to be done again, nonetheless finds new life in Tyner's solo reading. Afro Blue is hardly essential Tyner, but as a sampler of this period of his work, it's representative and highly enjoyable. ~ Jeff Tamarkin, All Music Guide
'McCoy Tyner Quartet'
Release Date 9/11/2007
Tracks 7
Label McCoy Tyner
See Album Tracklist and Review
What The Critics Say
McCoy Tyner's work with the John Coltrane Quartet is well documented, and this CD marks a welcome return to that format. Recorded live at Yoshi's in Oakland, CA, over New Year's, Joe Lovano does the honors in the tenor sax chair, while bassist Christian McBride and drummer Jeff "Tain" Watts hold the rhythm section together with honor, passion, and drive. The world-class bassist and drummer, usually known for their overt showmanship and over the top chops, show remarkable restraint and sensitivity throughout. Tyner and friends play several of his original compositions, well-known and revered over the years. Lovano sounds, eerily enough, like Pharoah Sanders, employing a slightly staggered expansive vibrato on "Walk Spirit, Talk Spirit," while using a more haunting stance à la Coltrane for "Mellow Minor," a new modern mainstream tune. Sounding more like himself, Lovano and the group join a loping desert caravan for the beautiful "Sama Layuca," with Lovano playing the part originally written for flute. They rip through "Passion Dance" and melt abject militarism during the poignant ballad "Search for Peace." Tyner, in character, utilizes a minimalist palette to extrapolate on improvisationally during his solos. After reported health problems, it is good to hear he is sounding quite inspired and energetic during the entire date. The happy song "Blues on the Corner" further cements his upbeat demeanor, while the finale/solo standard "For All We Know" is truly the real McCoy, replete with the many flourishes, dynamism, and harmonic colorations that distinguish him from all others. In many ways this is a remarkable date, a well-paced program with all the pieces (save "For All We Know") timed at around ten minutes, proof positive that Tyner's game is still very much on, and hovering at a very high level. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Pianist McCoy Tyner's second Columbia LP's was a bit of a misfire. A surprisingly commercial effort with the vocals of Phyllis Hyman and unnecessary contributions by guitarist Carlos Santana and (on "I'll Be Around") the synthesizer of Denzil Miller along with unidentified strings and horns, the music is quite forgettable. Tyner plays well and with as much passion as usual but one can clearly sense that not all of the musicians were recording the music at the same time for they rarely react to each other's presence. One of the great pianist's weaker efforts. ~ Scott Yanow, All Music Guide
What The Critics Say
On this long out of print LP from the defunct Elektra Musician label, (reissued on CD by Collectables in 2005), pianist McCoy Tyner is featured in one of his strongest groups, a quintet with altoist Gary Bartz, violinist John Blake, bassist John Lee, and drummer Wilby Fletcher. A transitional set between Tyner's adventurous Milestone albums and his later repertoire (which falls in the tradition but still sounds quite original), this album has two standards ("Prelude to a Kiss" and "Just in Time"); Bartz's tribute to Thelonious Monk ("Uncle Bubba"); and one original apiece by Tyner, Blake, and Lee. Excellent music. ~ Scott Yanow, All Music Guide
'Counterpoints: Live in Tokyo'
Release Date 9/28/2004
Tracks 5
Label Milestone
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What The Critics Say
Although these live tracks were recorded on the same evening in 1978 as McCoy Tyner's earlier Milestone album Passion Dance, they inexplicably remained unreleased until 2004. With Tyner joined by a powerful rhythm section consisting of bassist Ron Carter and drummer Tony Williams, the fireworks begin with an explosive interpretation of the pianist's "The Greeting." Next are two solo piano features, including a return to Tyner's exotic "Aisha" and "Sama Layuca," the latter building upon a hypnotic vamp from Tyner's left hand as thunderous chords with occasional tremolos are played by his right hand. Tyner begins Duke Ellington's "Prelude to a Kiss" with a well-disguised introduction before entering familiar territory just prior to Carter's entrance, producing an absolutely stunning interpretation. The disc wraps with the return of Williams for Tyner's "Iki Mashio (Let's Go)," another over the top work comparable to the pianist's "Passion Dance," with an interlude featuring a quiet but intricate solo by Carter. Even with Tyner's fierce attack at the keyboard and his heavy use of the sustain pedal at times, the sound is remarkably clear. ~ Ken Dryden, All Music Guide
What The Critics Say
In his mid-'60s at the time of this pair of studio sessions, McCoy Tyner is hardly the prototype of a musician re-creating past hits, instead he signals that he still has a few surprises up his sleeve. One thing apparent right away in his opener, "Illuminations," is that he is willing to stay in the background a good deal of the time, focusing the spotlight on bandmembers Terence Blanchard, Gary Bartz, Christian McBride, and Lewis Nash. The leader's driving Latin-flavored "Angelina" features his intricate solo as its centerpiece, though his instrument still seems mixed into the background. Perhaps the greatest surprise among his own works is the playful strutting "New Orleans Stomp," in which his down-home piano will lift a few eyebrows, accompanied by Blanchard's almost vocal-like trumpet. "The Chase" is a brief but rapid-fire workout with the rhythm section that will sound more familiar to longtime fans of Tyner. Bartz penned the strident post-bop vehicle "Soulstice," while Blanchard contributed the moody "Blessings," which blends a dark bass vamp with an uplifting Latin-flavored unison line by the two horns. McBride's "West Philly Tone Poem" features his warm arco bass in an inspired duet with the leader. The trio of standards heard here include "Alone Together" featuring Blanchard's sassy trumpet, while the relaxed but upbeat "If I Should Lose You" finds Bartz switching to soprano sax. This is yet another essential release by the always enjoyable McCoy Tyner. ~ Ken Dryden, All Music Guide
What The Critics Say
Pianist McCoy Tyner's first full-length trio album since 1964 was one of his most popular. Accompanied by bassist Ron Carter and Elvin Jones, Tyner (who uses harpsichord and/or celeste for flavoring on three of the six pieces) shows why he was considered the most influential acoustic pianist of the era (before Bill Evans began to surpass him in that category). Whether it be Jobim's "Once I Loved," "Impressions," "Ruby, My Dear" or Tyner's three powerful originals, this set finds Tyner in peak form. ~ Scott Yanow, All Music Guide
'Hip Toe: Live at the Musicians Exchange Cafe 1987'
Release Date 2/17/2004
Tracks 7
Label Universe
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What The Critics Say
McCoy Tyner is featured in a Ft. Lauderdale nightclub on this live set recorded in 1987, with bassist Avery Sharpe and drummer Louis Hayes. Sharpe is on electric bass for the opener, "Senor Carlos," Tyner's lively tribute to rock guitarist Carlos Santana. The pianist's shimmering exploration of "Loverman" is followed by a solo of his gorgeous original ballad "You Taught My Heart to Sing," which later had lyrics added by Sammy Cahn and has the potential to become a standard. Next up is Tyner's "Port au Blues," a swinging blues that showcases Sharpe's double-stopping. The leader's "Island Blues" is a driving calypso, with Sharpe's sinewy electric bass and Hayes' powerful percussion complementing Tyner's hard-charging piano in an extended workout. "What's New," written by Bob Haggart and long a favorite of jazz musicians, in an elegant solo feature for Tyner. The performance concludes with yet another original, the brisk "Hip Toe," which likely had the audience swaying back and forth and tapping their feet along with it. A hidden gem in Tyner's formidable discography which was initially released by Who's Who in Jazz in 1988, this rewarding live CD should be considered an essential purchase. ~ Ken Dryden, All Music Guide
