Find Telarc Sampler 2 @ Amazon.com
|
Alfred McCoy Tyrner, better known by the last two words of his full name – McCoy Tyner, was both on the 11th of December, 1938. His mother pushed him towards his love for the piano, by sending him for piano classes when he was 13 years old. The piano classes got him hooked to the instrument in a couple of years by the time he turned 15. His early inspiration came from the playing of Bud Powell with whom he was neighbors. His playing was discerned from the other sounds that persons have drawn out of the piano. He had a very distinguishable way of playing the bass notes with his left hand, which he positioned higher than the normal posture of piano playing permitted him to so that he could lay heavy special importance and significance on the notes that he played with that hand. His right hand’s style of playing too had a similar catch -the staccatos and arpeggios that he played with his right hand contributed to this distinguishable sound of playing. These two constituents and his method of chord voicing, which has a heavy usage of fourth notes, set him detached from a good deal of jazz pianists for the duration of his career of 46 and running years. He got his introductory steady gig with Jazztet in 1960 in which he played with Benny Golson. He left that group the same year and joined John Coltrane’s group. But this was not the primary time that he was affiliated with Coltrane. He and Coltrane both played together earlier on McCoys’s basi composition – The Believer. He was a share of the group’s release – My Favorite Things. The following four years, he toured with the John Coltrane Quartet which featured Coltrane himself on tenor saxophone, Jimmy Garrison on bass and Elvin Jones on the drums in addition to McCoy himself in piano. The band had a lot of success and has a number of releases which did very well including Ballads, Life at The Village Vanguard, Crescent, The Jon Coltrane Quartet Plays, and Live at Birdland which they recorded for Impulse! Records. Apart from playing for the John Coltrane Quartet, he likewise has a solo career on with a number of piano trio releases under the same label – the basi of which was the 1962 release Inception. He was sideman on rather a few albums under the Blue Note Records. After leaving the John Coltrane Quartet, he had a three year stint with Blue Note Records for whom he recorded a number of post bop albums – The Real McCoy, Tender Moments, Expansions and Extensions – for the duration of the four years (67′ – 70′) that he was with Blue Note. His next label was Milestone Records with whom he recorded a number of albums that he recorded with flute player Hubert Laws and Billy Colham on the drums. Some of their albums that this amount of time of recording developed were Sahara, Enlightenment and Fly With The Wind. The shift in music that he made was a very evident to the ear move to include music influenced by African and Asian forms of music in his compositions. This warranted for a wider potpourri of instruments that McCoy used and which he played himself – the koto (a 13th Japanese string instrument), the flute and percussion. This was one of the firstborn movements in jazz music to move towards a new freer form. This was not categorized as free jazz or fusion jazz. It was something else in the making. One of McCoy’s 1975 releases had him play two other instruments that were employed very seldom in jazz music to date – the harpsichord and the celeste. The 80′s and the 90′s saw him touring and recording broad with bass player Avery Sharpe and Aaron Scott who played the drums. He had an extended run with Blue Note Records for which he recorded more albums for in the late 80′s and early 90′s. McCoy is still active recording and touring with dissimilar musicians recording for Telarc Records. He was made a Jazz Master by the National Endowment for the Arts in 2002. He has had two releases in 2007 – Quarter and Afro Blue. Most helpful customer reviews 1 of 1 people found the following review helpful. Most of the works presented on SAMPLER VOLUME 2 should be familiar to all lovers of this genre. One musical highlight after another seems to parade by, until over an hour passes in a trice. This may be one of the finest classical music sampler CDs ever produced. Highlights include………. EVERYTHING! TOTAL RUNNING TIME — 65:46 |
I want some more