MCCOY TYNER Biography

2008-2009

It is not an overstatement to say that modern jazz has been shaped by the music of McCoy Tyner. His blues-based piano style, replete with sophisticated chords and an explosively percussive left hand has transcended conventional styles to become one of the most identifiable sounds in improvised music. His harmonic contributions and dramatic rhythmic devices form the vocabulary of a majority of jazz pianists.

Born in 1938 in Philadelphia, he became a part of the fertile jazz and R&B scene of the early ‘50s. His parents imbued him with a love for music from an early age. His mother encouraged him to explore his musical interests through formal training. The young pianist fell under the spell of blues and bebop at an early age leading jam sessions in his mother’s beauty shop and

winning talent shows. McCoy’s decision to study piano was reinforced when he encountered the legendary bebop pianist Bud Powell, who was a neighbor of the family's. Another major influence on Tyner's playing was Thelonious Monk, whose percussive attacks would inform Tyner's signature style. As a teenager in the 50s, Tyner often found opportunities to learn directly from other notable Philly-based musicians. He played with numerous natives of the thriving hometown jazz scene, including trumpeter Lee Morgan and the Heath Brothers, and even led his own septet.

At 17 he began a career-changing relationship with Miles Davis’ sideman saxophonist John Coltrane. While Tyner patiently waited for Coltrane to leave Miles' group and start his own band, another saxophonist, Benny Golson invited Tyner to join him and trumpeter Art Farmer in forming a New York-based ensemble, Jazztet.

Tyner finally joined Coltrane for the classic album My Favorite Things (1960), and remained at the core of what became one of the most seminal groups in jazz history, The John Coltrane Quartet. The band, which also included drummer Elvin Jones and bassist Jimmy Garrison, had an extraordinary chemistry, fostered in part by Tyner’s almost familial relationship with Coltrane.

From 1960 through 1965, Tyner’s name was propelled to international renown, as he developed a new vocabulary that transcended the piano styles of the time, providing a unique harmonic underpinning and rhythmic charge essential to the group's sound. He performed on Coltrane’s classic recordings such as Live at the Village Vanguard, Impressions and Coltrane’s signature suite, A Love Supreme.

In 1965, after over five years with Coltrane's quartet, Tyner left the group to explore his destiny as a composer and bandleader. But when Tyner broke out as a leader, he found that the American musical landscape was changing, with rock-n-roll replacing jazz as the darlings of music consumers.

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Through faith and determination, Tyner prevailed as a soloist and sideman. Among his major projects is a 1967 album entitled The Real McCoy, on which he was joined by saxophonist Joe Henderson, bassist Ron Carter and fellow Coltrane alumnus Elvin Jones. His 1972 Grammy-award nomination album Sahara, broke new ground by the sounds and rhythms of Africa. Since 1980, he has also arranged his lavishly textured harmonies for a big band that performs and records when possible. In the late 1980s, he mainly focused on his regular piano trio featuring Avery Sharpe on bass and Aarron Scott on drums. As of today, this trio is still in great demand. He returned to Impulse in 1995, with a superb album featuring Michael Brecker. In 1996 he recorded a special album with the music of Burt Bacharach. In 1998 he changed labels again and recorded an interesting latin album and an album featuring Stanley Clarke for TelArc.

Tyner has always expanded his vision of the musical landscape and incorporated new elements, whether from distant continents or diverse musical influences. More recently he has arranged for big bands, employed string arrangements, and even reinterpreted popular music.

Aside from his prodigious career as a leader, Tyner has lent his talents to a Who’s Who of modern jazz artists including Art Blakey, Michael Brecker, Eric Dolphy, Joe Henderson, Freddie Hubbard, Bobby Hutcherson, Milt Jackson, Elvin Jones, Hank Mobley, Wayne Shorter, Stanley Turrentine, and many others.

Today, Tyner has released nearly 80 albums under his name, earned four Grammys and was awarded Jazz Master from the National Endowment for the Arts in 2002. He continues to leave his mark on generations of improvisers, and yet remains a disarmingly modest and spiritually directed man.

http://www.imnworld.com/mccoytyner http://www.mccoytyner.com/

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McCoy Tyner QUOTES 2008-2009

“Several factors enable pianist McCoy Tyner to continue his recent string of quality recordings. First, there’s the Philly-born leader’s unique vibe, formed in the crucible of the classic John Coltrane quartet. Then there’s the exuberance of this quintet, which accomplishes more than merely backing up the leader.

The Philadelphia Inquirer “…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… This is yet another essential release, by the always enjoyable McCoy Tyner.”

All Music Guide

“Tyner is first among equals here in a meeting of special talents.”

Amazon.com “…[Tyner’s] still playing fierce, uncompromising and delightful music.”

JazzTimes “…a fiery, straight-ahead set…”

Ice “Musical excellence remains forever undeniable. Here it is.”

OffBeat “You can hear every note in his skittering, supersonic single-note passages, and even savor the sumptuous voice of his thickly textured chords.”

Hartford Courant

“…Tyner’s work always stands out, and he offers great versions of standards as well as wonderful originals. ***1/2

Pittsburgh Tribune-Review

www.imnworld.com www.artistwebsite.com

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January 14, 2008 07:00 AM Eastern Daylight Time

The Recording Academy® Celebrates Classical Music and Jazz During GRAMMY® Week

GRAMMY Salute To Classical Music® Honors Lang Lang and Earl Wild

GRAMMY Salute To Jazz® Pays Tribute to Legends Sonny Rollins and McCoy Tyner

SANTA MONICA, Calif.--(BUSINESS WIRE)--The Recording Academy® will spotlight the classical and jazz genres with special events held during GRAMMY® Week. The GRAMMY Salute To Classical Music® and GRAMMY Salute To Jazz® events celebrate musical styles and honorees that have made significant contributions to our culture. Each event will feature live performances and a special presentation of The Recording Academy President's Merit Award to accomplished artists in honor of their professional achievements. This year's GRAMMY Salute To Classical honorees are Lang Lang and Earl Wild. The GRAMMY Salute To Jazz honorees are Sonny Rollins and McCoy Tyner. The 50th Annual GRAMMY Awards will be broadcast live from STAPLES Center in Los Angeles on the CBS Television Network on Sunday, Feb. 10, 2008, from 8 –11:30 p.m. (ET/PT).

"In continuing our 50-year history of recognizing musical excellence, we are proud to honor great talent whose artistry has helped shape and evolve these important genres," said Neil Portnow, President/CEO of The Recording Academy. "These events during GRAMMY Week are a true celebration of music as they bring legends together with those that will continue to ensure these genres remain a vital part of our culture. We are thrilled to pay homage to such dynamic artists and celebrate their influential music."

GRAMMY Salute To Classical Music

The GRAMMY Salute To Classical Music will honor two extraordinary pianists, Lang Lang and Earl Wild. At only 25 years old, current GRAMMY nominee Lang Lang has performed to sold-out audiences around the world. He founded the Lang Lang International Music Foundation, which is dedicated to inspiring the next generation of musicians. A GRAMMY winner and legendary pianist, Wild became the first artist to perform a piano recital on U.S. television. He has recorded more than 40 albums and celebrated his 90th birthday in 2005 with a concert tour that culminated with a recital at

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Carnegie Hall in New York City.

This event will take place for the first time at the renowned Walt Disney Concert Hall on Tuesday, Feb. 5, 2008, with a reception, special presentation and performances by the honorees from 12 – 3 p.m. The President's Merit Award for outstanding achievement will be presented to these prolific musicians for their significant contributions to classical music and the community at large.

GRAMMY Salute To Jazz

Legendary jazz greats Sonny Rollins and McCoy Tyner will be honored at GRAMMY Salute To Jazz. Rollins is a two-time GRAMMY-winning tenor saxophonist and 2004 GRAMMY Lifetime Achievement Award recipient. He emerged at the height of the bebop jazz movement, and his illustrious career has consisted of more than five decades of recording. Since 2005 he has recorded on his own record label, Doxy Records. Five-time GRAMMY-winning Tyner is a jazz pianist whose style has become one of the most identifiable sounds in improvised music. He has released nearly 80 albums and in 2007 formed his own record label, McCoy Tyner Music, in partnership with Blue Note Records.

The presentation of the President's Merit Awards to Rollins and Tyner will take place on Tuesday, Feb. 5, 2008, from 7 – 10 p.m. at the Millennium Biltmore Hotel in Los Angeles and will feature a cocktail reception, live performances and appearances by the honorees and the Gibson/Baldwin GRAMMY Jazz Ensembles.

Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. In its 50th year, The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com.

Contacts

The Recording Academy Jennifer Keppel, 310-392-3777 jenniferk@grammy.com

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Song-and-dance men The tunes of McCoy Tyner and the moves of Savion Glover have a certain synchronicity  By GREG HAYMES, Staff writer Click byline for more stories by writer. First published: Thursday, March 6, 2008 Music and dance have been partners since the first song set toes to tapping, and it's been a long and happy pairing of aural and visual art forms.

It's not often, however, that dance becomes an actual part of the music.

But that's exactly what's in store Friday at The Egg, when master jazz pianist McCoy Tyner and his trio team up with tap dance virtuoso Savion Glover.

"If you look back through history, most tap dancers have tapped to jazz, and the rhythmic patterns of this particular music that I've been involved in for all these years," says the 69-year-old Tyner, who will be joined by bassist Gerald C. Cannon and drummer Eric Kamau Gravatt along with Glover at The Egg. "And I'm glad to see it happen again as much as possible, and theassociation has been working very well when we do get a chance to get together to perform."

Tyner and Glover first performed together three years ago at the Blue Note in New York City, and they've joined forces occasionally for performances ever since.

"When we first got together it seemed to click for some reason," recalls the veteran keyboardist.

Similarities

Perhaps one reason Tyner and Glover gel so well is that Tyner's instrument the piano fuses together melody and rhythm in a unique fashion.

"The thing is that the piano is both a string and percussive instrument. You have to press the keys, and then the hammers strike the strings. It's a very unique instrument in that sense," Tyner said.

"It was my only instrument when I was growing up, and I'm so glad I studied piano. I've been doing it a long time."

Tyner first rose to prominence in jazz circles as the pianist with the legendary saxophonist John Coltrane's classic quartet of the early '60s, playing alongside bassist Jimmy Garrison and powerhouse drummer Elvin Jones. And throughout his subsequent career as a bandleader, Tyner's music has constantly been fueled by some of the most acclaimed and explosive drummers, including Jones, Billy Cobham, Tony Williams, Al Foster and Jeff "Tain" Watts.

So it seems only natural that the fleet feet of Glover would provide scintillating percussive propulsion with Tyner's music, but surprisingly enough, Tyner doesn't necessarily hear Glover as a percussionist.

"I feel he's like a guy playing saxophone or something like that because he uses his feet so well," Tyner says. "Savion is like a horn player. He's a great improviser.

"He hears what you're doing rhythmically, and he's very, very fluent when it comes to music. He just does it with his feet, you know? And we connect that way, rhythmically and melodically as well because he's like an instrument. His feet are his instrument."

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Studying dance

Tyner knows a thing or two about dance, as well.

"When I was a teenager, I affiliated myself with a dance school. I studied dance," he recalls. "At the school they needed some male dancers, so I said, 'Let me find out what this is about.' I didn't study tap I studied African dancing but a lot of people were interested in tap. It's a very rhythmic concept tapping. It's definitely part of the African-American experience and the American experience as well.

"So I connected with Savion right away. He sort of brought back some wonderful memories. It has a lot to do with the music jazz and tap just go together.

"It's a beautiful thing. I found out that dance and jazz music are like bedfellows they're so wonderful when they're coordinated."

Throughout his long career, Tyner has recorded more than 80 albums in his own name, including his latest CD, simply titled "The McCoy Tyner Quartet," which he released late last year to launch his own record label McCoy Tyner Music.

The next album from the new label is slated for release in the fall, a CD/DVD package which not only features Tyner and the rhythm section of bassist Ron Carter and Woodstock drummer Jack DeJohnette, but also an array of special guest guitarists Marc Ribot, Derek Trucks, John Scofield and Bill Frisell, as well as banjo pioneer Bela Fleck.

But Tyner doesn't spend a lot of time planning his next musical moves. "I take it one step at a time. I don't want to get too far ahead of myself," he says. "I enjoy each day, and every day is different. I learn that way. I appreciate the moment.

"You have to improvise," he adds. "I think that's what I do best."

Greg Haymes may be reached at 454-5742 or by e-mail at ghaymes@timesunion.com.

The McCoy Tyner Trio

With: Savion Glover

When: 8 p.m. Friday

Where: The Egg, Empire State Plaza, Albany

Tickets: $36; seniors $32; children $18

Info: 473-1845; http://www.theegg.org

All Times Union materials copyright 1996-2008, Capital Newspapers Division of The Hearst Corporation, Albany, N.Y.

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Tap master add his beat to jazz trio Monday, February 25, 2008

ROBERT JOHNSON

Savion Glover and McCoy Tyner

Where: Count Basie Theatre, 99 Monmouth St., Red Bank

When: 8 p.m. Friday

How much: $45-$100. Call (732) 842-9000 or visit countbasietheatre.org.

Tap dance genius Savion Glover never seems to run out of ideas. Rhythms cascade from his feet incontinuous and unpredictable streams, but, more than that, he keeps finding new ways to frame what hedoes so that it always looks fresh.

The dancer's current tour, in which he appears as the guest of celebrated jazz pianist McCoy Tyner and hisMcCoy Tyner Trio, is simply the latest in a series of remarkable encounters that have raised the profile oftap dancing while underscoring Glover's artistry and his seriousness of purpose.

The ongoing dialogue that Glover and Tyner began two years ago, and brought to the Rutgers Center forthe Arts in Camden on Saturday, is less daring in some ways than Glover's past exchanges. Never afraid toprovoke or to experiment, Glover has jammed with a classical string ensemble, with classical and moderndancers, and with Bobby McFerrin. His collaboration with Tyner is something new again. It does not seek todazzle with conceptual chutzpah, nor endear itself with sheer adorability.

Instead, Glover and Tyner offer audiences an evening of concentrated artistry, replete with the music'sinherent dignity and elegance. Tyner's own music dominates the sets, giving Glover his theme, and abackdrop in a vivid shade of magenta or blue seems the artists' only concession to theatricality.

The music is exciting enough. Tyner has earned his reputation for boldness, slamming the keyboard withthe palm of his hand in a way that may or may not equate Glover's penchant for funky stomping (here littlein evidence). The pianist opens the program with an impassioned number that proudly exposes histechnique and generates magnificent, floating billows of sound, colored textures that are still hanging in theair when Glover steps onto a raised platform center-stage. The tapper uses the powerful clarity of hisrhythms to cut through them, piercing the impressionistic sheets like a floodlight scanning the heavens on anight of violent electrical storms.

In this remarkable percussive duet, piano and feet are sufficiently different that each artist maintains his owndistinct sphere and approach. Tyner is not to be trifled with, however, and Glover, who keeps his head andbody angled toward the piano during most of the program, seems to follow more than he leads, askingrhythmic questions and amplifying the musical context, but mostly agreeing with Tyner's points. He seemsfreer in his relatively brief exchanges with trio members Eric Gravatt (drums) and Gerald C. Cannon (bass);and when, in part two, the conversation turns to Duke Ellington, Glover's feet have a lot to say.

Ellington's "In a Mellow Tone" supplies the crisp and classic segment of a program where the musical moodevolves subtly from drama to romance and onward to the exotic, without overstepping Tyner's personalstyle. Yet Tyner reaches out to Glover, also, especially near the official end of the program (not theindispensable encore) where the pianist captures one of Glover's beats and hammers it into his own score.

Sitting back from his keyboard, and pointing a finger playfully at his tap-dancing accomplice, the pianistcould be taken for a dancer, too.

Robert Johnson writes about dance for The Star-Ledger. He may be reached at rjohnson@starledger.com.

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Tyner, Clarke & Cobham at the Blue NoteArtist(s): McCoy Tyner, Stanley Clarke & Billy Cobham

Venue/ Location:

Blue Note New York, New York USA

Date: December 12, 2004

Written By: Ashley Kahn

What would they play? Would they plug in? In my mind the notion of the tight, sold-out quarters of the Blue Note turning into a pressure cooker of fusion-era amplification had me enthralled -- and scared. But when I spied an acoustic bass being held aloft and maneuvered toward the stage by a young man who looked curiously like a teenaged

Stanley Clarke (turns out it was his son), I put the earplugs away and got ready.

I mean, come on! McCoy Tyner and Billy Cobham and a stand-up bass playing Stanley Clarke? When I first saw the gig mentioned in the Blue Note’s ad, it didn’t read like a usual weeklong residency in New York City. It read more like a one-time festival concert. It read like something that would meet for the first time on Tuesday and develop over the week -- that I should make the Sunday show if I wanted to catch them full throttle. And it also read like history. Cobham had not played with Tyner -- on stage or in studio -- since the pianist’s 1976 soloists-and-strings album Fly With the Wind. Clarke, normally ensconced in Los Angeles doing session work for soundtracks, was inspired by his week in Manhattan to consider spending more time in New York City to get back into the gigging scene.

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When the three virtuosi stepped on stage they were greeted with thunderous applause; they wasted no time launching into displays of prowess for which each is legendary, though the performance was more dialog-driven and interactive than showy.

Tyner’s modal workout “Trane-Like” (from the Telarc album he did in 2000 with Clarke and Al Foster) was the first tune offered, played at a brisk tempo with ample room for solos -- allowing all to warm up, flex fingers and get in sync with each other. Tyner’s crisp, single-note lines spun and spiraled, and Cobham’s melodic use of the entire drum kit was a marvel of intuitive orchestration. But it was Clarke’s richly textured approach that caught most of the audience unaware. From the first tune on, he attacked each solo with gusto and delight: hopping between funky, legato playing and his patented blurred-fingers technique at the top of the fretboard with an almost electric-bass tone.

It was obvious Tyner -- who struggled with the club’s piano and wasn’t happy about it -- was calling the shots: “Come Rain or Come Shine” was the pianist’s choice for an evocative ballad. Bass and drums had an Afro-Caribbean dialogue next -- Clarke setting up a rhythm, Cobham providing a second rhythmic layer with shaker/mallets on the toms -- which developed into the Latin-flavored “Angelina” (off Illuminations, another recent Tyner title) that featured flamenco-flavored strumming from Clarke. Especially on that number, the use and masterful control of dynamics by all was astounding (and made sure the earplugs remained pocketed.)

The hard-boppish “Steppin’” was kicked off by a Cobham explosion on cymbals and toms, and then it was Tyner’s turn to shine again, creating an improvisation that surprised with hints of stride devices and teases of Tatum-like runs. Cobham’s four-stick solo -- two in each hand at 90-degree angles -- brought the tune to a close.

Tyner calls the blues the “real national anthem,” and every time I’ve caught him recently he closes with one. Clarke took full advantage of the form, improvising -- even bending the strings -- as if he was working a club on Chicago’s south side.

Suddenly it was over. No encore, lights up, another show to seat. The air of expectation helped make the 55-minute set seem like five.

All later said they were ecstatic about how their music and interplay had developed over the week, and they are looking forward to the week they’ll spend together at Yoshi’s in Oakland in January. Might this trio record

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