Dahomey Dance

Reminiscing over McCoy Tyner's passing has returned this gem to my thoughts. Featuring Eric Dolphy on alto sax, this bluesy nod to our Fon forebears is a blue stroll along the path of jazz's past and future. Dolphy cannot help but express himself in that irrepressible manner of his, moaning and wailing on his alto the path forward for jazz in the early 1960s. McCoy Tyner's solo is an assertion of his own utterly singular style, and a perfect example of the relevance of the blues to jazz. This is our music. 

Passion Dance

The news of McCoy Tyner's passing has been quite traumatic. Tyner was the first of of the jazz legends I have seen perform live, back in 2007. In those days, being the jazz neophyte I was, I did not grasp the contributions of Tyner and his legacy in the annals of jazz history. By 2011, I was well versed in the recordings of Coltrane and finally understood the pivotal piano technique and style of Tyner. While my interest in his individual career after Sahara waned, those magical years with Coltrane encapsulated an entire movement in jazz of the 1960s. Tyner himself is the origin of the quotation that inspired Wilmer's As Serious As Your Life: “Music's not a plaything – it's as serious as your life.” He may have parted ways with Coltrane when the latter moved further towards the avant-garde, but Tyner was an essential player in the evolution of Coltrane's sound, just like Elvin Jones. Rest in peace. 

McCoy Tyner's All of You

McCoy Tyner playing one of my favorite standards with Bob Cranshaw and Mickey Roker at Newport. I usually prefer Tyner with at least a quartet because an additional horn or two adds some extra depth to his chromatic playing. Near the song's end, Tyner hints at his more eccentric style that I associate with his Coltrane years and solo work in the the late 1960s and 1970s. The dependable Bob Cranshaw also gets a little solo, too, which is standard but gets the job done. Unforutnately, Coltrane never recorded "All of You" with Tyner on piano, but I can see it going even better than Wynton Kelly's accompaniment. 

Grant Green's My Favorite Things

An astonishing and Coltrane-like interpretation of "My Favorite Things" from Grant Green. Green is accompanied by pianist McCoy Tyner and Elvin Jones, so comparisons to Coltrane are inevitable. Despite some expected similarities between Coltrane and Grant's approach to this powerful song, I am particularly drawn to McCoy Tyner's piano solo here. Yes, there's the heavy block chords and chromaticism that we've come to expect in Tyner's style, but he plays more ferociously here, as if playing against the more ethereal solo on the famous Coltrane recording. Perhaps because of Jones's even more propulsive drumming, Tyner swings even harder. Maybe this is a sign I should move past my Bill Evans obsession and revisit my old McCoy Tyner obsession for the next few months. 

Impressions

Video footage of Coltrane performing live is usually precious. McCoy Tyner is on fire, as one would expect from the likes of him. 

A Tribute to Coltrane (And Tyner and Jones)

A fascinating tribute to Coltrane, McCoy Tyner and Elvin Jones from David S. Ware. "African Drums" sounds eerily close to Coltrane's take of "My Favorite Things" with a hint of the drum soloing of Jones on Coltrane's "Africa." Sure, Matthew Shipp's piano accompaniment and soloing is derivative of Tyner's singular style, but sometimes you have to take an homage for what it is. Ware's time to shine is distinct enough anyway. 

Freddie Hubbard's Crisis featuring McCoy Tyner and Elvin Jones

Though "Crisis" recorded previously with Art Blakey's Jazz Messengers is a hard bop classic, this version featuring McCoy Tyner and Elvin Jones is more satisfying. Hubbard had recently collaborated with Jones and Tyner via John Coltrane (check out the Africa/Brass sessions), so he was used to working with them. As I have said in the past, the strength of the Coltrane Quartet rested in the foundation set by Tyner and Jones, who provided complex rhythmic and harmonic backing while also taking adventurous solos. Hubbard is really trying to outdo his previous recording with Blakey, but Jones and Tyner steal the show here (and, well, Wayne Shorter). Jones applies his characteristic quasi-Latin swing, Tyner comps, and Shorter blows away contemplatively in a state of restrained crisis (hey, just like the title of the song!). Now, if we could only get rid of McKinney's euphonium, then this great song could be even greater. Hard bop like this with the some of the best musicians of 1960s jazz is a truly rare delight. 

Ryo Fukui's Mellow Dream

Mellow Dream is quite similar to Scenery, though it was not released until several decades after being recorded in 1977 (according to this). On the 'banging' opener, the Fukui trio again sounds reminiscent of Bill Evans and McCoy Tyner (but with some Bud and perhaps a hint of Horace Silver). The bassist's extended solo reminded me of Scott LaFaro, further cementing the ties between Fukui and the best trio of Evans. The second number, "My Foolish Heart," a standard and appropriately taken at a relaxed pace, is not as moving or interesting as other standards tackled by Fukui. 

Fortunately, "Baron Potato Blues" picks up where "My Foolish Heart" left off, bringing some bluesy funk to the show. Sure, it's a simple blues that's almost obligatory on any jazz number, but it's swinging, the bassist is very audible, and Fukui's mastery of the blues form is showcased in his solo. On this number, he reminds me of Tyner again, mostly for his block chord-like accompaniment of himself. Regardless, it's a jam-packed adventure where the blues, that most essential of the roots in African American music, is a form for expressing not only the deepest melancholy, but triumphant joy. 

"What's New" takes us into familiar standard material. Fukui's soul-searching piano, with the drummer's excellent accompaniment, feels like a wave on the sea, rolling back and forth over a gentle bass. The highlight is without a doubt the melodic solo taken by the bassist, again recalling Scott LaFaro's work with Evans but far too short. "Horizon" goes into more interesting territory with a modal groove, emphatic drumming, and Fukui's almost ancient-sounding theme pounded on the piano keys. Stuff like this recalls the 1960s McCoy Tyner-Coltrane collaborations which fused spirituals, blues and jazz with an ethos of universal spirituality or ecumenism (which often entailed looking to the past and foreign for a 'grand' sound). "Horizon" does this quite well, including some busy drumwork that recalls the not-quite Latin but polyrhythmic and hectic style of Jones, another key component of the success of Coltrane's 1960s output (prior to him dumping Tyner for his wife, Alice). 

Like Tyner, the roots (blues) appear in Fukui's solo while glissandos and flies at breakneck speed. The bassist deserves brownie points for keeping it all together with such quick plucking. The drummer even gets a solo, almost melodically while utilizing as much of the drumset as possible, though nothing quite like my boy Max Roach. Last but certainly not least, "My Funny Valentine" is approached with the gentleness of a slight breeze while walking at the park as Fukui does a piano solo rendition. Its sparseness actually contributes to the emotional drama of the standard's message, in a way that vocalist Sarah Vaughan perhaps best achieved.

Though not as strong or packing as much of a punch as Scenery, this is certainly excellent evidence of the longevity of jazz piano-led trios. The last track, another version of "Early Summer," takes things to their proper soulful modal groove conclusion. Alas, if only this guy had more albums or recordings. I need to consume more jazz from all corners of the world. 

Alice Coltrane Plays the Blues: Turiya and Ramakrishna

Alice Coltrane, much like John Coltrane, went toward avant garde and "Eastern" religious and spiritual influences in her music. Taken from Ptah, the El Daoud, an excellent release from 1970, "Turiya and Ramakrishna" captures Coltrane encapsulating the spirit of the blues in her approach to jazz piano. She seamlessly fuses her blues-drenched tone poem with avant garde and "Eastern" influences to exemplify the soul of jazz, paying homage to one's roots while taking future routes to new lands. The basic blues form, which builds the foundation for the composition, the light swing and additional percussion, and Coltrane's stunning solo glides across the keyboard. Her style actually bears some commonalities with McCoy Tyner, who played with John Coltrane prior to Alice, though without the penchant for block chords. Ron Carter, the bassist, gets in on the fun, too, showing his keen attention to melody and grace per usual. 

Wayne Shorter's Juju

Recorded with Coltrane’s sidemen, Tyner, Jones, and Workman, and heavily influenced by Coltrane’s style, it’s no surprise that this sounds like his work. The dark, African Juju even sounds like “Africa” from Coltrane’s Africa/Brass album, though different in the shrieking sax solo by Shorter that suggests some ominous dark magic, as the name “Juju” implies. Elvin Jones also has a brief solo that suggests a tie to “Africa,” although much shorter, giving the spotlight to Shorter himself. “Deluge,” the following track, is, strangely enough, suggestive of a flood or deluge of sound. Shorter’s talents as a composer capable of crafting music of spiritual or alternate atmospheres, is one of his strengths self-evident in Speak No Evil, another of his masterpieces from the 1960s. Jones and Tyner accompany perfectly, with Jones’ characteristically spirited, powerhouse drumming adding textural complexity to the songs, as if one is truly experiencing a deluge. The “mystical” and “Oriental” feel of “House of Jade,” another beautiful ballad composed by our man for his infant daughter, begins with an elaborate introduction by McCoy Tyner. Little known fact, Wayne Shorter’s wife was Japanese, and his exploration of “Eastern” melodies and music was partially motivated by his wife as well as his Buddhist persuasions. Either way, McCoy Tyner and Elvin Jones, after playing with Coltrane, were ready for exploring spiritual music from around the globe, and “Mahjong” is a beautiful reminder of Shorter’s ability to improvise on ballad, slow tempo numbers, exploring within and around the song’s theme while Jones adds in flourishes and textures of sound through his drumming. Tyner’s accomplished comping propels things forward, and the song switches in tempo, picking up on swing while Shorter’s searing tenor blows wave after waves of dark, sometimes bluesy, notes. Tyner’s solo is blues-rooted but not limited by the blues form, taking us to the song’s finale featuring Shorter’s extended notes.

Moving on, “Majhong,” a beautiful modal piece with more “Eastern” colors, sounds “Chinese” as the name would suggest, but turns around unsurprisingly at times, from a minor, dark feel, to more uplifting, brighter days. Jones brilliantly bangs on the drums, expertly using cymbals to accentuate and conjure an ancient Chinese ceremony, as well as Tyner’s piano solos, mixing his usual left hand chord accompaniment to his right’s powerful fingers. Shorter’s solo nicely compliments the Eastern melody, suggested by Tyner’s accompaniment, and also throws in some more of Shorter’s fiery, bop-inflected soloing from his tutelage under Blakey while simultaneously suggestive of Coltrane’s influence. Jones really blows everything away, though, fusing cymbal work while playing melodically, adding to the song’s “Eastern” theme. Alas, like every other song on the album, Workman’s bass is mixed very low, so it’s barely audible. But “Yes or No,” a contemplative, upbeat yet not simply copacetic, number, shows something of Shorter’s recognition of his days with the Jazz Messengers, indeed, sounding like some of his work with them in the early 1960s. The lively swing provided by Jones and Shorter’s employment of Coltranesque blowing does not challenge his individuality. Tyner’s solo is a work of beauty, quick-paced, light and sweet while maintaining the depth and, paradoxically, serious playfulness suggested by the seeming unknown answer “Yes or No” imparts to the leader. 

 Reggie Workman in the recording studio for the album

The final track, “Twelve More Bar to Go,” a playful title on the twelve bar blues form so widespread in jazz music, is, unsurprisingly, a blues, but with Shorter it transcends whatever limitations people attach to the blues, becoming joyous, upbeat, playful, insightful, and triumphant in Shorter’s solo. Clearly well-versed in the blues from years of playing with Blakey, his solo is a more restrained example of his mastery of the blues compared to his fiery, soulful solos on jams such as “Dat Dere.” As usual, the song is able to maintain this restrained, yet upbeat feel, and, with thundering drums and crashing cymbals, later in Shorter’s solo, the song still remains locked in place and evades collapse. A perfect way to end an album reminiscent of night, with the blues, a form associated with the after hours of clubs, with joy and sadness, gloom and triumph, Shorter’s Juju, in my opinion, surpasses Speak No Evil, though the latter features stronger compositions and lyricism in their melodies, but lacks the unique and powerful drumming of Jones. The Eastern, African, and Latin themes mesh well here, and, I must say, and "Juju" alone tops most of the compositions on Speak No Evil (though songs like "Witch Hunt" benefit from the drumming of Jones as well as Hubbard's scorching trumpet blues, as does the title composition, another blues-drenched, horn-centered piece and "Infant Eyes" is utter delight). The CD also includes some alternate takes on "House of Jade" and "Juju," the latter interesting for providing what seems to be more Tyner-led yet, of course, retaining the strong polyrhythms and African mysticism. The drum solo on the alternate recording seems a little longer, and, as a fan of Jones, means it is something I enjoy, while the alternate of "House of Jade" entertains and features the same back and forth between uptempo and midtempo, with needed additions and cymbal crashing and percussive genius from Jones.

Lee Morgan's Tom Cat

1. "Tom Cat" (Lee Morgan) – 9:50

2. "Exotique" (Morgan) – 9:34

3. "Twice Around" (Morgan) – 7:36

4. "Twilight Mist" (McCoy Tyner) – 6:57

5. "Rigormortis" (J. Del, Henry Glover, Morris Levy) – 7:27

A beautiful album with a strong lineup. Tyner on keys works well with Morgan's fiery hard-bop base while Blakey, McLean, who was becoming more adventurous, too, and Fuller mesh with Morgan's hard bop roots. "Rigormortis" and "Twilight Mist" are two highlights, especially the propulsive swing of Blakey and Tyner's introspective piano and Morgan's energetic blasts of energy and soul into "Rigormortis." While retaining the characteristic funky blues sound of The Sidewinder and other typical Morgan releases of the 1960s for Blue Note, this album is more progressive and forward-thinking, almost as much as Search for the New Land, where Morgan and company embraced modal and avant-garde influences. Although I feel that Fuller's trombone is unnecessary overall to the album, because I usually prefer to not hear the clunky, awkward tone of the trombone, Fuller's solos are limited. Blakey, one of my favorite jazz drummers, keeps things interesting with his Afro-Latin-esque brief solos but mostly serves as a timekeeper who injects African vitality to the fun romp that is "Rigormortis." The bluesy funk of "Tom Cat" is delectable, too, although sounding perhaps too much like Morgan's schooling days in Blakey's Jazz Messengers, though never reaching the heights of "Moanin', but McLean's solos here and on "Exotique" are stirring alongside accompaniment from Tyner. With a great lineup and good Morgan material, this album is highly recommendable, accessible, and worthwhile for any fan of Morgan, Blakey, or even Tyner.

Lee Morgan's Delightfulee

1. "Ca-Lee-So" - 5:34 is a fun, funky and cute track, especially the piano lines. The title, presumably a reference to calypso music, can be heard in the bassline, the head, and the rhythms. Joe Henderson’s well-placed, Caribbean-esque and joyous, upbeat solos are another plus. Definitely an adorable little ditty here, and a highlight on the album. Morever, it’s nice to hear McCoy Tyner’s piano on this Calypso-inflected tune, which can also be clearly seen as a playful tune with the pun (an allusion to Lee’s Christian name) because he is usually associated with the “serious” or spiritual work of Coltrane. Tyner retains his characteristic left hand block chords and right trigger fingers, until the song repeats the joyful theme.

2. "Zambia" - 6:33, despite the title’s allusion to an independent African nation, does not sound very “African.” Thus, though trying to be “Afrocentric” and assert a connection to Africa, something Lee has done with “Mr. Kenyatta” or “Afreaka,” “Zambia,” though featuring some “Latin” influences in Billy Higgins’ drumming, is too standard or stereotypically Morgan. Henderson, however, really flies high on his solo and hints at the post-bop world of the mid-1960s. Higgins also lays down the up-tempo swing hard on this, while Morgan and him play call-and-response for a while. Unfortunately, it sounds too much like “Calling Ms. Khadijah,” a number penned by Morgan for Art Blakey and the Jazz Messengers or even his “Kozo’s Waltz,” also recorded with Blakey.

3. "Yesterday" (Lennon, McCartney) - 5:49 is the worst track on the album, with Morgan and a big band orchestrated by Oliver Nelson endeavoring to do justice to a classic song by the Beatles. Adding a light samba rhythm, the band plays the melody faithfully, but it just does not add up right. It sounds pathetic, almost Churchlike (as in an hymn) and the horn arrangements do not represent the song’s light, earnest hope as well as a very simple, sparse arrangement would. It was a nice attempt, though, and I admire Oliver Nelson’s work, especially The Blues and the Abstract Truth’s “Stolen Moments.”

4. "Sunrise, Sunset" (Bock, Harnick) - 6:17 continues the big band recordings, doing an interesting version of a song from Fiddler on the Roof, which, when compared to “Yesterday,” works well and surpasses the original music. The saxophone solo (sounds like Wayne Shorter?) uniquely carries the song, as well as McCoy Tyner’s lilting, dark-edged piano’s sinister sound. Higgins on the drum carries it well, and Tyner’s piano, once again, and the full band joins in at times where it sounds very much like the arrangements for John Coltrane’s larger band ensembles in Africa/Brass or Ole Coltrane. Perhaps the presence of Tyner and his unique piano stamp of approval is what truly reminds me of Coltrane’s larger ensemble work, though, especially since his solo contains his left hand block chords and soulful, piercing, right. Indeed, this song, actually sounds like a song from Africa/Brass, such as “Greensleeves” or “Song of the Underground Railroad.”

5. "Nite Flite" - 7:38 features the old quintet again, and is a speeding train of jazz. Morgan blows away while Higgins plays a thundering, lightning-fast rhythm that reminds one of Max Roach’s “Freedom Day.” Higgins, however, keeps it from getting boring by adding Latinish touches while Henderson’s solo, appropriately fast and post-bop, adds some soul and hints at his later avant-garde, free jazz work. Tyner’s contemplative, spirited solo, so typical of his beautiful, one in a kind style, adds a complex layer of soul to the composition. He keeps it from getting old by throwing multitextured arpeggios and sounds with strong, hectic rhythms supplied by Higgins. As the title suggests, night is indeed flying by in this interesting, post-bop Morgan tune.

6. "The Delightful Deggie" - 6:38, the last of the quintet recordings on this release, is a deep, mid-tempo number recalling a once delightful, merry time. Henderson once again steals the show, with his solo, at one point sounding like “Haitian Fight Song,” plays around the waltz-like atmosphere of good times once had. Tyner brings in the blues, just as he so ardently accomplished with in various spellbinding renditions of Coltrane’s “Spiritual,” also a somber piece reflecting sadness, inner resolve, and spirit. Thus, despite leaning toward modal and avant-garde, Tyner never loses his grasp the blues, showing off his experience and talent by infusing the somber track with a touch of the blues. The number ends on a high note, with repetition of the deep theme of

7. "Need I?" - 7:11 Bonus track on CD is very boppish, recorded with the big band, although lacking the complexity and depth of the previous track, so it’s not a very smooth transition. It’s nice though, especially with Shorter on saxophone playing in the hard bop style he perfected under the tutelage of Art Blakey’s Jazz Messengers. Though never cooking as much as he did in, say, “Dat Dere,” him and Morgan keep things going with unnecessary accompaniment from the large ensemble’s additional horns. In my humble opinion, this would be one song better left out of the album or just recorded with the quintet. Philly Joe Jones does get some momentary shine for his drumming solos, though, as well as Tyner, going on a bluesy, beautiful romp.

8. "Filet of Soul (aka Hoppin' John)" - 8:30, another bonus track, sounds too much like an Oliver Nelson song with an additional slice of soul. In some ways, it’s very characteristic of Morgan’s work, since Blue Note was always pressuring him to compose funky soul-jazz and bop numbers that could be another hit after the amazing success of “The Sidewinder.” Shorter, per usual, slows things down and, with his introspective solo, retains the blues, adding in some short-lived howls and retained notes for the necessary bluesy element. The drummer, Jones, like Blakey does on similar recordings, keeps things flowing well, especially while Morgan takes over for his soulful solo. This minor blues theme, exemplified by Tyner’s accompaniment, sounds similar to some of Morgan’s blues-oriented outings with the Jazz Messengers until Tyner improvises pensive, reflective riffs layered with age or depth suggesting ancient sources. Alas, the big band arrangement detracts from what could have been a great song, with flutes and other horns until the bassist’s solo, which is middling, until the song ends, sounding somewhat, once again, like an Oliver Nelson number from The Blues and the Abstract Truth.

9. "Zambia" [Big Band Version] - 8:01 tries and succeeds to emulate the post-bop, “Kozo’s Waltz”-like delight of “Zambia.” Though the horns bring more textural layers of sound, and Shorter’s saxophone voice differs significantly from Henderson, using honking, almost atonal moments to express a post-bop soul, Morgan’s soloing phenomenal, and Tyner thoughtful. Jones, whose well-executed rhythmic fits of fancy, are well-placed, though hardly “Zambian” or “African” in sound, except for the Afro-Latin solo, actually make the song more stereotypically “African” than the quintet recording. It ends well though, with the additional horns providing a nice call-and-response to the soloists' exploration of the them, which is, in a sense, very African. 

10. "The Delightful Deggie" [Big Band Version], the final track, sounds much like the quintet version with annoying additional horn arrangements that, for me, distract from the melancholic tone poem. Tyner, who solos first, fortunately saves us, as well as Morgan. The drumming seems too loud, however, with Jones using too much forceful swing whereas Higgins, who could cook and swing just as hard, was better able to temper himself and let go. Once again, with Tyner, things turn out okay and Shorter makes everything okay in the end. Nevertheless, the big-band recording, like most of the other big-band renditions, pale in comparison to the quintet recordings, although none as much as “Yesterday.”

McCoy Tyner's Best Piano Work

Here are some of my favorite songs featuring the great Philadelphia-raised jazz pianist I saw perform at in high school. I wish I was into jazz back then, so I would have a much better recollection of Tyner's amazing performance. Anywho, here are some of my favorite recorded moments featuring his unique piano voice.

Ole  from Ole Coltrane

Juju from Wayne Shorter's Juju

Spiritual (Coltrane)

Dahomey Dance 

Aisha

Africa

My Favorite Things

Greensleeves

Impressions

Afro Blue

Deluge 

Mahjong

Resolution (A Love Supreme)

Pursuance

Passion Dance

Contemplation

Blues on the Corner

Ebony Queen

Liberia

Dear Lord

Verse

Una Muy Bonita

8/4 Beat

El Barrio

House of Jade

Crisis

Mr. Knight

India

Brazilia, parts 1 and 2

Central Park West

Naima

Isotope

Equinox

Syeeda's Song Flute

Mr. P.C.