McCoy TYNER - Nights of Ballads & Blues 1963

McCoy TYNER - Nights of Ballads & Blues 1963
AS-39

Jazz

Specially in its early years, Impulse! was a label that released a number of perfect coffee table albums, often from artists from which this kind of music was not entirely expected.

McCoy Tyner's Nights of Ballads & Blues is such an album: it's polished, it's slick, it's above all extremely elegant and stylish, and it has really very little in common with the music that Tyner recorded at the time with John Coltrane, or indeed with anything that he recorded later for Blue Note or Milestone.
"Satin Doll" is Ellingtonian to the extreme; "Round Midnight" is bar jazz at its most sophisticated, and the other tracks fit in seamlessly into this set of classy jazz standards. This is not a bad thing at all; it's just surprising to hear Tyner in this context. Unlike the later  McCoy Tyner Plays Ellington, which seems both forced and bland, Nights of Ballads & Blues sparkles and is enjoyable from start to finish. It may not be Tyner's most advanced recording (in fact, it is probably anything but), but it's certainly good fun.
**
As the title implies, this McCoy Tyner release is a low-key, after-hours affair. Far removed from the intensity of work with then-boss John Coltrane, Tyner stretches out on a fine mix of standards and bebop classics. The pianist, of course, always had his own fleet and rich way with ballads, in spite of the galvanizing marathon solos he became known for on live dates and his later experimental recordings with Coltrane. His ballad style is even touched with a bit of sentimentality, which thankfully is kept in check by a bevy of tasteful lines. Backed by the topnotch rhythm tandem of bassist Steve Davis and drummer Lex Humphries, Tyner finds the room to develop classic statements on highlights like Monk's "'Round Midnight," Ellington and Strayhorn's "Satin Doll," and Parker's "Star Eyes." On more easeful tracks like "For Heaven's Sake," Tyner utilizes his block chord approach to meditative and romantic effect. Rounded out by solid blues sides like "Blue Monk" and Tyner's own "Groove Waltz," Nights of Ballads and Blues qualifies as one of the pianist's most enjoyable early discs.
By Stephen Cook. AMG.
**
The heart of this recording has to be McCoy's rendition of Round Midnight. Although done so many times as a jazz standard, McCoy breathes so much life into this version that the listener can't help but fall in love.
The rest of the album is spectacular as well, with McCoy demonstrating his solo ability in not-so-rare form. While many folks only know Tyner as a Coltrane sideman, others know his amazing capacity to engulf the audience in soulful ballads and high tempo acrobatics.
The muted picture on the album cover connotes the mystical feeling you be given while listening to this must-have for any jazz fan.
By Erik Berkule.
**
McCoy Tyner- (Piano)
Steve Davis- (Bass)
Lex Humphries- (Drums)
**
A1. Satin Doll 5:39  
A2. We'll Be Together Again 3:40  
A3. ´Round Midnight 6:22  
A4. For Heaven's Sake 3:48  
B1. Star Eyes 5:04   
B2. Blue Monk 5:22  
B3. Groove Waltz 5:31  
B4. Days of Wine and Roses 3:21
**

NoPassword
*
DLink MU
DLink FF
*

McCoy TYNER & Jackie McLEAN – It’s About Time 1985

McCoy TYNER & Jackie McLEAN – It’s About Time 1985
BT 85102

Jazz

Pianist McCoy Tyner's matchup with veteran altoist Jackie McLean is reasonably enjoyable but less memorable than one might expect. Actually McLean is only on four of the six selections and trumpeter Jon Faddis (who appears on two cuts) sometimes steals the spotlight. Tyner and McLean are accompanied by either Ron Carter or Marcus Miller on bass, drummer Al Foster and sometimes percussionist Steve Thornton. The pianist wrote five of the six selections (including "You Taught My Heart To Sing") but none of the musicians sounds all that inspired.
By Scott Yanow, All Music Guide.
**
When this music's done right, as it is by two masters like McCoy Tyner (piano) and Jackie McLean (alto sax), almost nothin' can touch it. Too often, though, it's not done by masters, and it's not done right. Even though it may seem to be about chops, dexterity, virtuosity, it's not. It's about feeling and intuition. It's not enough simply to master the moves, as so many young lions have done; you've got to have something to say. Yes, you need to master the idiom, but after you've done that, you need to acquire a unique voice and speak with originality and authority, not just rehash tired old phrases.

It's a mystery to me why this disc isn't better known. Recorded in the late 80s--not especially a stellar time for jazz--perhaps it just fell through the cracks. Or maybe it's because it's under 40 minutes long. And McLean sits out for the last two cuts, so he's only on board for about a half an hour. And half the cuts feature the funkified Jaco-esque e-bass of Marcus Miller (Ron Carter's on the other half), so there's somewhat of a discontinuity of tone and mood. But that shouldn't stop anyone, at least not in my view. When he plays, McLean plays brilliantly, spinning out fresh ideas and gloriously articulated solos. And the compositions, ranging from bop burners ("Spur of the Moment") to sultry ballads ("You Taught My Heart to Sing," "No Flowers Please") to Latin numbers ("Travelin'" and "It's About Time," my favorite tracks) to a bloozy romp ("Hip-Toe"), all by Tyner (except "No Flowers Please"), feature his trademark genius for melodic ingenuity and rhythmic drive.

Tyner sounds as good as I've ever heard him: he's got the savvy and maturity of his later period combined with the restless innovation of his early days. His solo on "Travelin'" absolutely stands out. And if McLean has lost just a bit of his earlier fire, he more than makes up for it with a rich, burnished tone on alto, among the most attractive of any man to ever pick up the smaller horn. John Faddis plays trumpet on two cuts, and it's great to hear him in this setting. He's a player who has always struck me as being better as a sideman than as a leader. Blessed with outrageous chops, he has sometimes struggled to integrate his playing into a group setting, but he does so marvelously here. Al Foster on drums, what with his long stint with Miles through several of his iterations, perfectly fits into this slightly eclectic setting, and he easily and naturally fits in with longtime Miles bandmate Marcus Miller.
All in all, a very fine effort absolutely worth picking up.
By Jan P. Dennis.
**
Marcus Miller- Bass (tracks: A2, A3, B4) ,
Ron Carter- Bass (tracks: A1, B1, B2)
Al Foster- Drums
Steve Thornton- Percussion (tracks: A2, A3, B3)
McCoy Tyner- Piano
Jackie McLean- Alto Sax (tracks: A1, A3, B1)
John Faddis- Trumpet (tracks: A1, B1)
**
A1. Spur Of The Moment 5:53
A2. You Taught My Heart To Sing 6:30
A3. It's About Time 6:17
B1. Hip-Toe 6:29
B2. No Flowers Please 5:35
B3. Travelin' 6:26
**
NoPassword
*
DLink
*

McCoy TYNER - Expansions 1968

McCoy TYNER - Expansions 1968

Jazz

A really mindblowing session from McCoy Tyner -- perfectly titled "Expansions" to showcase the change in his style at the time! The record is one of Tyner's first larger group efforts -- and is a brilliant example of the expansion of his talents in the post-Coltrane years -- a searing, soaring batch of longer tunes that dance with joy, life, and a new sense of energy in jazz -- carried off perfectly by a lineup that includes excellent contributions from Gary Bartz, Woody Shaw, and Wayne Shorter. The album is as spiritual and swinging as you'd expect from those players -- with a sound that's more Strata East than Blue Note -- and titles include "Visions", "Song of Happiness", "Smitty's Place", and "Peresina".
From Dusty Groove.
**
McCoy's finest hour shows him to be a modernistic visionary as a composer and his soloing here ranks as some of the most intense he has played on record. "Smitty's Place" is also one of the most "out" situations Tyner led: Dig the double soloing by Wayne Shorter and Gary Bartz set against Elvin Jones' slamming drums intense!And Out-of-print.
From AAJ.
**
Of pianist McCoy Tyner's seven Blue Note albums of the 1967-1970 period, Expansions is the most definitive. Tyner's group (comprised of trumpeter Woody Shaw, altoist Gary Bartz, tenor saxophonist Wayne Shorter, Ron Carter on cello, bassist Herbie Lewis, and drummer Freddie Waits) is particularly strong, the compositions (four Tyner originals plus Calvin Massey's I Thought I'd Let You Know) are challenging, and the musicians seem quite inspired by each other's presence. The stimulating music falls between advanced hard bop and the avant-garde, pushing and pulling at the boundaries of modern mainstream jazz. -- by Scott Yanow
**
Herbie Lewis- Bass 
Ron Carter- Cello 
Freddie Waits- Drums 
McCoy Tyner- Piano 
Gary Bartz- Alto Saxophone, Flute
Wayne Shorter- Tenor Sax, Clarinet 
Woody Shaw- Trumpet
**
A1. Vision 12:15
A2. Song Of Happiness 11:55
B1. Smitty's Place 5:20
B2. Peresina 10:20
B3. I Thought I'd Let You Know 6:25
**
NoPassword
*
DLink
*

McCoy TYNER with Stanley CLARKE & Al FOSTER 2000

McCoy TYNER with Stanley CLARKE & Al FOSTER 2000

Jazz

As the title declares, pianist McCoy Tyner is matched here with two inspired and inspiring partners, a rhythm section that possesses a light touch and reserves of power. While Tyner has at times sounded like he's pulling a trio in his wake, that never happens here. Instead this trio touches on many of the usual postbop bases with a fresh vitality. The empathy is apparent from the opening "Trane-like," with bassist Stanley Clarke and drummer Al Foster creating a springy rhythmic backdrop that has Tyner's triphammer runs sounding like stones dancing across water. That scintillating performance extends to the standard "Will You Still Be Mine?" and the Afro-Cuban "Carriba," while the pianist takes an expansive view of the blues on his "Goin' Way Blues," mixing traditional and modernist approaches. Clarke is equally adroit, whether accompanying or soloing, playing acoustic or electric. He uses his electric bass sparingly, contributing infectiously funky slap bass to the first take of "I Want to Tell You 'Bout That" and a reverberant lead to his other original, "In the Tradition Of," a tuneful bossa nova that suggests Antonio Carlos Jobim. But it may be Foster who does the most to make this date as successful as it is. His drumming sparkles, and he prods and levitates the music without ever intruding. The results are deep in the tradition of the piano trio, and it's Tyner's finest outing in the form in many years.
By Stuart Broomer. AMG.
**
First things first: McCoy Tyner, on this one-off outing with muscular rhythm-section men Stanley Clarke and Al Foster, doesn't quite manage the telepathic interplay he achieves on stage with his regular trio, an exemplary outfit that deserves better representation on high-profile recordings.
That said, this supergroup jells quite nicely, thank you, and right away. The three, probably best defined as a piano power trio, offer a collective nod to Tyner's old employer on the opening "Trane-like," turning in a limber call-and-response section before settling in for some dangerously grooving swing. The pianist, alternating between colorful orchestral clusters and single-note runs, demonstrates an attack that's as passionate as ever. Tyner employs a similarly effective approach on the standard "The Night Has a Thousand Eyes," pumped up with some concise, rumbling trap-kit work from Foster.
Funk slips into the mix with the surging and then relaxing "I Want to Tell You 'Bout That," one of several pieces abetted by Clarke's still-vital chopsmanship on electric bass. (A more organic version of the bluesy piece, with the bassist switching to acoustic, is heard as a "bonus track.") The four-stringer plugs back in for the broiling Afro-Caribbean rhythms and playful melody of "Carriba."
The trio knows what to do with the quieter material as well. They're subdued and reflective on "Never Let Me Go," which opens up for a brief but thoughtful solo by Clarke, and the bassist's lovely, Latin-tinged "In the Tradition Of." Tyner goes it alone for a shimmering, muted "Memories," enhancing the variety of a superbly played set that's altogether pleasant, if hardly startling.
By Philip Booth, JAZZIZ Magazine.
**
McCoy Tyner- (Piano);
Stanley Clarke- (Acoustic & Electric Basses);
Al Foster- (Drums).
**
01. Trane-Like 9:10
02. Once Upon A Time 5:28
03. Never Let Me Go 4:17
04. I Want To Tell You 'Bout That (Electric Bass Version) 5:16
05. Will You Still Be Mine 6:44
06. Goin' 'Way Blues 6:29
07. In The Tradition Of 7:36
08. The Night Has A Thousand Eyes 4:50
09. Carriba 5:38
10. Memories 3:32
11. I Want To Tell You 'Bout That (Acoustic Bass Version - Alternate Take) 5:57
**
NoPassword
*
DLink
*

McCoy TYNER - Counterpoints, Live in Tokyo 1978

McCoy TYNER - Counterpoints, Live in Tokyo 1978
Denon Colosseum, Tokyo, Japan (07/28/1978)

Jazz

McCoy Tyner is a powerhouse pianist and this live concert from Tokyo only confirms the mastery of this jazz titan. COUNTERPOINT opens with Tyner's own composition "The Greeting." A modal tour de force, this tune features a scorching solo from Tyner and high-octane drumming from Tony Williams. However, bassist Ron Carter offers great musical contrast. During his solo, he brings the group dynamic noticeably lower, and unlike Tyner and Williams, he focuses on subtle rhythmic motifs.

Duke Ellington's "Prelude to a Kiss" may be the highlight of COUNTERPOINTS. Performed as a piano-and-bass duet, it begins with intimate chords and delicate melodic gestures. However, as the tune develops, Tyner's playing becomes more extroverted and experimental. During his solo, he plays many of his trademark pentatonic licks--machine-gun-like riffs that freely embrace bitonality. Again, in contrast, Carter takes a much less modern approach to this tune. By playing more bebop-oriented lines, he juxtaposes the old with the new. Overall, this album documents the virtuosity and conceptual brilliance of Tyner and his band quite well.
From CD Universe.
**
Although these live tracks were recorded on the same evening in 1978 as McCoy Tyner's earlier Milestone album Passion Dance, they inexplicably remained unreleased until 2004. With Tyner joined by a powerful rhythm section consisting of bassist Ron Carter and drummer Tony Williams, the fireworks begin with an explosive interpretation of the pianist's "The Greeting." Next are two solo piano features, including a return to Tyner's exotic "Aisha" and "Sama Layuca," the latter building upon a hypnotic vamp from Tyner's left hand as thunderous chords with occasional tremolos are played by his right hand. Tyner begins Duke Ellington's "Prelude to a Kiss" with a well-disguised introduction before entering familiar territory just prior to Carter's entrance, producing an absolutely stunning interpretation. The disc wraps with the return of Williams for Tyner's "Iki Mashio (Let's Go)," another over the top work comparable to the pianist's "Passion Dance," with an interlude featuring a quiet but intricate solo by Carter. Even with Tyner's fierce attack at the keyboard and his heavy use of the sustain pedal at times, the sound is remarkably clear.
By Ken Dryden, All Music Guide.
**
McCoy Tyner- (Piano);
Ron Carter- (Double Bass);
Tony Williams- (Drums).
**
01. The Greeting 11:30
02. Aisha 7:08
03. Sama Layuca 6:38
04. Prelude to a Kiss 9:20
05. Iki Masho (Let's Go) 13:58
**
NoPassword
*
DLink
*

McCoy TYNER and the Latin All-Stars 1999

McCoy TYNER and the Latin All-Stars 1999

Jazz

Pianist McCoy Tyner & The Latin All-Stars come on like a band of Latino musical marauders. Running the gamut of grooves in a state-of-the-art fashion, Tyner's nonet proves exemplary at distilling the deep connections betwen Latin music and jazz. For example, Kenny Dorham's jam-session favorite, "Blue Bossa" is presented as an uptempo samba with alternate changes - far removed from its relaxed original form. "La Habana Sol" - one of three Tyner originals - is a blistering line woven through a slightly veiled merengue beat. Excellent arrangements of "Poinciana" and "Afro Blue" round out the more recognizable fare.

The soloing is heavy-duty. tyner is heard sounding much more aggressive than of late. Trombonist Steve Turre breaks out his conch shells for several inspired solos. While Gary Bartz's gutsy alto and soprano are firmly grounded in latter-day Coltrane, Claudio Roditi's trumpet conjures the fluidity of a Clifford Brown.

The Latin All-Stars' horn section spews tight passages like an open fire hydrant on a stifling summer day in the Bronx. The crisp rhythm section, based around drummer Ignacio Berroa, clearly understands how to work the fundamental clave. All the while, Tyner stokes a fire beneath his hot band, spurring impulsive soloists to reach beyond their technical facilities toward the realm of free association.
By James Rozz.
**
Legendary pianist Tyner made his name as a hard-bopper without equal, but as his solo career has shown, he's always been forward-looking enough to keep progressing and exploring new avenues of musical expression. This album is no exception, ...  

Full Descriptionas Tyner teams up with Latin jazz hotshots like flautist Dave Valentin and percussionists Johny Almendra and Giovanni Hidalgo for a program that mixes the pianist's original compositions with tunes by the likes of Ahmad Jamal and Kenny Dorham, all given a Latin jazz feel. While some of the musicians are best known for distinctly non-Latin efforts (Gary Bartz, Avery Sharpe, Steve Turre), they fall right into the irresistible lilt of the arrangements' Latin syncopation.

Naturally, Tyner is the star of the show, as his widescreen comping and bold, barnstorming solos take center stage, but there's plenty of first class blowing from Bartz, Turre and trumpeter Claudio Roditi.
From Cd Universe
**
McCoy Tyner- (Piano)
Johnny Almendra- (Timbales)
Gary Bartz- (Saxophones)
Ignacio Berroa- (Drums)
Giovanni Hidalgo- (Percussion)
Caludio Roditi- (Trumpet and Flugelhorn)
Avery Sharpe- (Double Bass)
Steve Turre- (Trombone and Shells)
Dave Valentin- (Flute)
**
1. Festival in Bahia (McCoy Tyner) 11:02
2. Poinciana (Nat Simon/Buddy Bernier) 6:59
3. Afro Blue (Mongo Santamaria) 12:23
4. A Song for Love (McCoy Tyner) 10:34
5. La Habana Sol (McCoy Tyner) 8:36
6. We Are Our Father's Sons (Avery Sharpe) 5:24
7. Blue Bossa (Kenny Dorham) 6:50
**
NoPassword
*
DLink
*

McCoy TYNER - Song of the New World 1973

McCoy TYNER - Song of the New World 1973

Jazz

Excellent recording of vintage 1973 McCoy Tyner compositions. Group interplay is at as high as is musicianship all around. Compositionally speaking, the tunes are somewhat unmemorable, but do offer up the listener some great soloing. I would not recomend this as your first Tyner record. Check out the live 1973 set on the album Enlightenment for that.
By Thano J Lomiento.
**
This Latin-fueled number starts with McCoy Tyner's signature use of cluster chords and bass notes. It follows the motif of many songs heard on this album, but shows Tyner's diversity as an arranger with his inventive use of flutes. Sonny Fortune and Hubert Laws give this song the brightness that drives the melody, yet at times Tyner's piano drowns out the flutes. Parts of Tyner's solo remind me of the way an electric guitarist would phrase, with his rapid use of notes, giving the listener little time to think about what he has played. Still, this song is very much a gem on this oft-overlooked but experimental album from the piano master.
By Jared Pauley.
**
In 1973, jazz was branching out; the Mahavishnu Orchestra recorded "Between Nothingness and Eternity," Chick Corea made "Hymn of the Seventh Galaxy," ...    Full Descriptionand McCoy Tyner teamed up with producer Orrin Keepnews for "Song of the New World." There's plenty of great music here, plus a vintage '70s vibe, on Tyner's first foray into orchestral jazz.

Mongo Santamaria's "Afro Blue" begins with an exotic intro of flute, conga, thumb piano, and bells, and the full band entrance is strong and majestic. After a duet of dueling flutes Tyner plays a whirlwind solo over Alphonse Mouzon's storm-like drumming. The band chimes in occasionally, but Tyner sails over it all. "Some Day" is a relief from what has come before. Tyner's melodies can be refreshingly simple and direct, and here he channels a bit of Richard Rodgers' charm, in a tune unusually structured around Jooney Booth's upright bass solo. The entire ensemble stays in the background, and Booth is joined by Sonny Fortune's haunting flute comments.

Recorded at A&R Sound Studios, New York, New York from April 6-9, 1973. Originally released on Milestone (9049). Includes original liner notes by Orrin Keepnews.
CD Universe
**
McCoy Tyner- (Piano);
Sonny Fortune- (Soprano & Alto Saxophones, Flute);
Virgil Jones, Cecil Bridgewater, Jon Faddis- (Trumpet);
Dick Griffin- (Trombone, Bass Trombone);
Garnett Brown- (Trombone);
Kiani Zawadi- (Euphonium);
Julius Watkins, Willie Ruff, William Warnick III- (French horn);
Bob Stewart- (Tuba);
Hubert Laws- (Piccolo, Flute);
Harry Smyles- (Oboe);
Selwart Clarke, John Blair, Sanford Allen, Winston Collymore, Noel DaCosta, Marie Hence- (Violin);
Julian Barber, Alfred Brown- (Viola);
Ronald Lipscomb- (Cello);
Jooney Booth- (Bass);
Alphonse Mouzon- (Drums);
Sonny Morgan- (Congas).
**
01. Afro Blue 9:57
02. Little Brother 10:09
03. The Divine Love 7:27
04. Some Day 6:48 
05. Song Of The New World 6:50
**
NoPassword
*
DLink
*

Mccoy TYNER - Land of Giants 2002

Mccoy TYNER - Land of Giants  2002
Label: Telarc

Jazz

Recorded on the heels of a spectacular live date at London's Barbican Hall on July 6, 2002, Land of Giants features an all-star quartet led by '60s icon pianist McCoy Tyner. Showcasing a solid mix of Tyner originals and jazz standards, the group also includes vibist Bobby Hutcherson, bassist Charnett Moffett, and drummer Eric Harland. While the work here is by no means as provocative as the stuff Hutcherson and Tyner produced in their heydays, it nonetheless proves them to be utter masters of the straight-ahead modern jazz idiom and should appeal to longtime fans.
Matt Collar, All Music Guide.
**
Aptly named, McCoy Tyner’s Land of Giants transports listeners into a sound world of varied and stunning topography. Featuring Bobby Hutcherson on vibes, Eric Harland on drums, and Charnett Moffett on bass, this recording stands as a monument to Tyner’s stature as bandleader, player, and composer.
Always commanding, Tyner’s strength permeates each piece without ever dominating. As accompanist, he creates a fertile grounding for his soloists, and as soloist, he explores new vistas without violating the overall sonic environment. The same can be said for veteran vibraphonist Hutcherson, whose mellifluous lines mesh smoothly with Tyner’s firm approach. There is something intensely compelling about this combination of piano and vibraphone, the vibe’s almost ethereal overtones floating over the piano’s solid, crisp base, combining to create a lingeringly forceful tableaux.

And that doesn’t even account for the rhythm section, which is far from typical. Harland and Moffett provide a ceaseless current of energy and dynamism that invigorates or grounds depending on necessity. Harland’s rhythms chatter interactively, while Moffet’s playing erupts with ideas. A highly innovative instrumentalist, Moffett reveals talents here is of particular interest. While many bass greats have already expanded the instrument’s traditional role, Moffett is pushing toward the next level of expressiveness. Employing skilled bowing, plucking, and a rare control of shaded coloring, his solos possess graceful depth.

Land of Giants includes seven new Tyner compositions, as well as new versions of Ellington’s “In a Mellow Tone,” Frank Loesser’s “If I Were a Bell,” and Lewis and Coots’ “For All We Know.” All of Tyner’s works possess his signature sense of balance, and house his band’s talents well. Of particular note are the pulsating “Manalyuca” and the spiritually striving “Contemplation.”

This is an album of stately, nuanced music full of clarity and emotion. Produced by an intriguing mix of veterans and younger musicians, all the pieces are excellent, and if you have had the opportunity to hear this group live, it is satisfying to find a recording that captures much of their vitality.
By Franz A. Matzner.
**
Mccoy Tyner- Piano
Bobby Hutcherson- Vibes
Charnett Moffett- Bass
Eric Harland- Drums
**
01. Serra Do Mar
02. December
03. Steppin'
04. If I Were A Bell
05. Manalyuca
06. Back Bay Blues
07. For All We Know
08. The Search
09. Contemplation
10. In A Mellow Tone
*
NoPassword
*
DLink
*

McCoy TYNER - Asante 1970

McCoy TYNER - Asante 1970
Label: Blue Note
CD-R (March 31, 1998)

Jazz 

The CD issue of McCoy Tyner's Asante contains the four album tracks as well as a session from July, 1970, that was originally released with material from two late 1960s sessions on a double-LP titled Cosmos. Although this is a nice way to give some extra value to the customer who buys Asante, it probably reduces the chances that we'll be seeing a reissue of Cosmos any time soon, and that's unfortunate. At any rate, Asante continues Tyner's interest in African music that he began in earnest six months earlier with Extensions. Percussionist Mtume is borrowed from Miles Davis' band and the wordless vocals of Songai (Sandra Smith) on the first two tracks add a new dimension to Tyner's music. So does the guitar of Ted Dunbar which, as the liner notes point out, is used like the African kora (a 21-stringed instrument that looks like the combination of a harp and a lute) on the album's title track. The album also goes even further in the direction of collective improvisation, an approach that was popular among experimental jazz ensembles in the late 1960s and early 1970s, but which Tyner himself only dabbled in.
The two Songai tracks have an almost otherworldly presence to them. Although Andrew White passes up the chance to bring much individuality to his sax playing, his mimicry of Coltrane is both impassioned and accomplished — and considering that this is a McCoy Tyner record, it's not out of place. Having taken the audience through African spirituals on "Malika" and "Asante," Tyner's sequencing of "Goin' Home" as the third track is particularly effective, as "Goin' Home" has a bluesy groove to it that makes for an effective juxtaposition. This is a track that could easily have been rearranged as an up-tempo fusion tune for an all-electric ensemble and it is an example of how Tyner's early-'70s music occasionally crossed into territory occupied by fusion bands without actually being electric. The final track, an impressive blow-out called "Fulfillment," introduces McCoy Tyner as the physical force of a pianist that he became known as in the 1970s. He really hammers the keys here, playing the whole span of the piano with an intense power and speed.

The earlier material is a sextet of Tyner with Hubert Laws (flutes), Gary Bartz (saxes), Andrew White (oboe), Herbie Lewis (bass) and Freddie Waits (drums). I find the music to be stylistically similar to the material on the previous album, Extensions, despite the different instrumentation. Ever since being exposed to mid-period Soft Machine, I've enjoyed hearing the oboe in a jazz context and it fits very well in the stately, eastern-tinged modalities of early-'70s McCoy Tyner music. "Forbidden Land" and "Hope" are lush, texturally rich pieces that nevertheless don't induce listener fatigue from overcrowding (a problem I sometimes have with jazz sextets). "Forbidden Land" even has a slight hop in the step of its main theme and — probably because of this — I hear similarities to some of Herbie Hancock's contemporaneous work. "Asian Lullaby" is 8 1/2 minutes of variations on a simple melodic theme. It works, but perhaps goes on a bit longer than it should. "Hope" is a vast canvass for soloing and the winner for me here is clearly Tyner, whose long solo represents some of the most intricate and nimble playing that he had put on an album to this point.
By Matt P.
**
"Asante" brings together on CD cuts from two 1970 releases by Tyner: "Asante" (in its entirety) and the double album "Cosmos," from which the CD culls three cuts. The result is about 75 minutes of some extremely imaginative playing from Tyner and a great collection of bandmates.
The first two cuts feature soaring vocals from Songai, which help to take the music well beyond the realm of mainstream jazz. They set the tone for the whole CD: Tyner blends powerful progressive jazz with exotic African and Eastern sounds, continuing the line established by John Coltrane during the '60s.

The CD also highlights Tyner's compositional skills. He displays throughout a knack for writing lyrical, even hummable melodies, strengthened by powerful percussion and muscular horns. A good example is "Asian Lullaby," from "Cosmos," a composition that shows what fertile ground Tyner and others were plowing before fusion started dulling the consciousness of record executives and the public alike.

A word must also be said about Tyner's cohorts on this release. The drumming by Billy Hart, Freddie Waits and Mtume is superior throughout. Andrew White plays alto ably on "Asante," then switches to oboe for "Cosmos" to add some breadth to the sound. The real powerhouse (aside from Tyner and his piano, of course) for me, though, is the underrecorded Gary Bartz, who plays alto and soprano on the three cuts from "Cosmos." Always a great player, Bartz is at the top of his game here. He sears through all his solos, but never forgets the melodic line and captures the rich flavor of Tyner's tunes.

Tyner shows with this CD that jazz is music that draws, as Coltrane said, from a huge reservoir. "Asante," with its broad palette of colors, paints an endlessly fascinating picture of Tyner's musical world.
Highly recommended.
By  Tyler Smith.
**
McCoy Tyner, piano, wooden flute; Andrew White, alto sax, oboe; Ted Dunbar, guitar; Buster Williams, bass; Billy Hart, drums; Mtume, congas; Songai, vocals; Hubert Laws, flute, alto flute; Gary Bartz, soprano sax, alto sax; Herbie Lewis, bass; Freddie Waits, drums
**
01.  Malika  14:00
02.  Asante  6:09
03.  Goin' Home  7:37
04.  Fulfillment  13:57
05.  Forbidden Land  13:46
06.  Asian Lullaby  8:30
07.  Hope  14:11
**
NoPassword
*
DLink
*