This was the group that was to hold together for six years; by McCoy Tyner's estimation, it rehearsed four or five times during that stretch. All the rest of. The great statement of Coltrane on the Vanguard tapes of late 1961 was “Chasin' the Trane,” a 12bar blues improvisation in F that starts, as most Coltrane performances. He established his reputation as an integral part of the classic John Coltrane Quartet from. (in a rare gig away. The Real McCoy (Blue Note) Tyner's first.

Contents • • • • • • • • • Biography [ ] Early life [ ] Tyner was born in Philadelphia as the oldest of three children. He was encouraged to study piano by his mother. He began studying the piano at age 13 and within two years music had become the focal point in his life. When he was 17, he converted to through the and changed his name to Sulieman Saud. Early career [ ] Tyner's first main exposure came with, being the first pianist in Golson's and 's (1960). After departing the Jazztet, Tyner joined John Coltrane's group in 1960 during its extended run at the Jazz Gallery, replacing (Coltrane had known Tyner for a while in Philadelphia, and featured one of the pianist's compositions, 'The Believer', as early as 1958).

He appeared on the saxophonist's popular recording of ' for. The Coltrane Quartet, which consisted of Coltrane on saxophone, Tyner, on bass, and on drums, toured almost non-stop between 1961 and 1965 and recorded a number of albums, including,,,,, and, on the label. Tyner has recorded a number of highly influential albums in his own right.

While in Coltrane's group, he recorded a series (primarily in the piano trio format) for Impulse! The pianist also appeared as a sideman on many of the highly acclaimed albums of the 1960s, although was often credited as 'etc.' On the cover of these albums (when listing the sidemen on the album) in order to respect his contractual obligations at Impulse! His involvement with Coltrane came to an end in 1965. Coltrane's music was becoming much more atonal and free; he had also augmented his quartet with percussion players who threatened to drown out both Tyner and Jones: 'I didn't see myself making any contribution to that music. All I could hear was a lot of noise. I didn't have any feeling for the music, and when I don't have feelings, I don't play'.

By 1966, Tyner was rehearsing with a new trio and embarked on his career as a leader. Post-Coltrane [ ]. McCoy Tyner,, San Francisco, California, March 1981 After leaving Coltrane's group, Tyner produced a series of albums released on Blue Note Records from 1967 to 1970, which included (1967), (1967), (1968), (1968) and (1970). Soon thereafter he moved to the Milestone label and recorded many influential albums, including (1972), (1973), and (1976), which featured flautist, drummer, and a string orchestra.

His music for Blue Note and Milestone often took the Coltrane quartet's music as a point of departure and also incorporated African and East Asian musical elements. On Sahara, for instance, Tyner plays, in addition to piano, flute, and percussion. These albums are often cited as examples of vital, innovative jazz from the 1970s that was neither nor. [ ] (1975) is notable for featuring Tyner on (rarely heard in jazz) and, in addition to his primary instrument, piano. Tyner still records and tours regularly and played from the 1980s through 1990s with a trio that included on bass and first, then, on drums.

He made a trio of solo recordings for Blue Note, starting with (1988) and culminating with (1991). Today [ ] Tyner records for the label and has been playing with different trios, one of which has included on bass and on drums. In 2008, Tyner toured with his quartet, which featured saxophonist with (bass) and Eric Kamau Gravatt (drums). On July 16, 2005, McCoy Tyner was awarded an Honorary Doctorate of Music from at the Sala dei Notari during the Umbria Jazz Festival. Autoturn Keygen more. McCoy was also a judge for the 6th, 10th and 11th annual to support independent artists' careers. McCoy Tyner with Tyner's style of piano is easily comparable to Coltrane's maximalist style of saxophone. Though a member of Coltrane's group, he was never overshadowed by the saxophonist, but complemented and even inspired Coltrane's open-minded approach.

Tyner is considered to be one of the most influential jazz pianists of the 20th century, an honor he earned both with Coltrane and in his years of performing following Coltrane's death. Though playing instruments of vastly different versatility, both Tyner and Coltrane utilize similar scales, chordal structures, melodic phrasings, and rhythms. Tyner's playing can be distinguished by a low bass left hand, in which he tends to raise his arm relatively high above the keyboard for an emphatic attack; the fact that Tyner is left-handed may contribute to this distinctively powerful style. Tyner's unique right-hand soloing is recognizable for a detached, or, quality. His melodic vocabulary is rich, ranging from raw to complexly; his unique approach to chord voicing (most characteristically by fourths) has influenced a wide array of contemporary jazz pianists, most notably. Discography [ ].