The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain.

The debut recording from McCoy Tyner's big band features the pianist's all-star 15-piece unit romping through five of his originals (including "Blues for Basie") plus Steve Turre's "Lotus Flower." With such fine soloists as tenors Junior Cook and Ricky Ford, trumpeter Kamau Adilifu, trombonist Turre, and the leader, the ensemble (which includes John Clark's French horn and the tuba of Howard Johnson) had quickly gained its own sound and the results are quite memorable and frequently exciting. Recommended.

Presented here are two classic John Coltrane live recordings made at the Birdland jazz club in the early 1960s. While the first three tracks feature the leader with his immortal quartet (featuring McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums), on the last three the great Eric Dolphy is added to that group.

Bill Withers performs a heartfelt song expressing his love for his partner and his dreams for their future together. He also shares his thoughts on the struggles and hardships of being a black man in America. Withers delivers a powerful spoken word performance, reflecting on the pain and frustration felt by the black community and encouraging the audience to remember the struggles and stand up against oppression. The episode also features a conversation between Bill Withers and poet May Jackson about love, urban life, and black consciousness. Additionally, Bill Withers shares memories of his grandmother and her influential role in his life.

Other than a few short spots, Stanley Turrentine is the only significant soloist on this CD reissue which features a diverse program including "When the Sun Comes Out," "Maybe September," "You're Gonna Hear from Me" and a previously unreleased rendition of Max Roach's jazz waltz "Lonesome Lover." Although he is accompanied by an all-star group that includes trumpeter Blue Mitchell, altoist James Spaulding, baritonist Pepper Adams and pianist McCoy Tyner, Turrentine's sidemen could almost have been anonymous studio players for the tenor is the dominant voice throughout. It is surprising that Pearson did not make more extensive use of the other musicians' unique talents, particularly Tyner. However, despite some potentially indifferent material, Turrentine is in fine form throughout the date, even finding something to say on "Sunny." "La Fiesta" (no relation to the later Chick Corea tune) is the highpoint of a largely enjoyable set.

A collection of some of McCoy Tyner’s best Montreux Jazz Festival live performances! The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital.

In the Altonaer Fabrik in 1986, the master trumpeter Freddie Hubbard was a guest in the trio of one of the most important pianists of contemporary jazz: McCoy Tyner, whose extremely powerful attack always added percussive power of the most energetic kind to his virtuoso playing. McCoy Tyner died in March 2020, the recording from 1986 (he was 58 years old at the time) show him at the height of the unmistakable jazz expression that defined him. His piano and the enormous radiance of the Hubbard trumpet (born in the same year as Tyner in 1938, but died in 2008) are the outstanding protagonists. But the recording also features bassist Avery Sharpe, born in 1954 and with excellent acoustic and electrical credentials, as well as Louis Hayes, still today the most indestructible of all modern drummers at well over 80 years of age. Together they refine the nine titles of this two-hour concert on this truly remarkable evening of music!

One of the better McCoy Tyner records on Milestone, this live set from San Francisco features the masterful pianist playing solo on "Naima" and leading a strong sextet (with George Adams on tenor, flute, and soprano; Joe Ford on alto and flute; bassist Charles Fambrough; drummer Woody "Sonship" Theus; and percussionist Guilherme Franco) on four of his originals. There are remakes (quite different from the originals) of "Fly with the Wind" and "The Greeting" and two newer pieces, including the atmospheric "Hand in Hand." An excellent example of McCoy Tyner's playing in the 1970s.

Born in Philadelphia on 11th December 1938, as a youth McCoy Tyner was encouraged to study piano by his mother and began lessons at age 13. Within two years music had become the focal point in his life and Tyner was playing on his neighbor's instrument, but his family soon invested in one of his own for the budding musician, following which he began hosting jam sessions at home. Among his friends were a number of other young musicians who would go on to make their mark in the field of jazz, including Lee Morgan, Archie Shepp, Bobby Timmons, Reggie Workman, and most notably, fellow pianist Bud Powell and his brother Richie. McCoy later said, Bud and Richie Powell moved into my neighborhood. Bud was a major influence on me during my early teens. He was very dynamic. Tyner later attended the West Philadelphia Music School and the Granoff School Of Music.

There are no weak McCoy Tyner albums and this relative obscurity is better than average. The great pianist is heard with an all-star nonet that includes Hubert Laws on flute, vibraphonist Bobby Hutcherson, altoist Paquito d'Rivera, Chico Freeman on tenor, and trumpeter Marcus Belgrave, plus a seven-piece string section. The music (five Tyner originals) is highly rhythmic and generally quite stimulating. A strong effort.

Those familiar with the dense, percussive style that pianist McCoy Tyner has cultivated since the 1970s onwards may be surprised by what they hear on Inception. Like Reaching Fourth and Nights of Ballads and Blues, this album gives listeners the chance to hear what a very young Tyner sounded like outside the confines of the classic John Coltrane quartet of the early '60s; it reveals a lyrical approach to jazz piano that seems a far cry from Tyner's mature style. The choice of material is fairly evenly split between modal pieces like "Inception" and more harmonically involved tunes like "Speak Low," and the pianist's treatment of both demonstrates the extent to which his early work was rooted in bebop…

Violinist Stephane Grappelli, although a veteran of the swing era, has always kept an open mind toward newer styles even while he has retained his own sound and veteran repertoire. This duet set with pianist McCoy Tyner might seem unlikely at first glance but it works quite well. The duo sticks to standards (including two that are associated with John Coltrane) and find plenty of common ground. The mutual respect they have for each other is obvious and they both sound a bit inspired.