The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain.

The debut recording from McCoy Tyner's big band features the pianist's all-star 15-piece unit romping through five of his originals (including "Blues for Basie") plus Steve Turre's "Lotus Flower." With such fine soloists as tenors Junior Cook and Ricky Ford, trumpeter Kamau Adilifu, trombonist Turre, and the leader, the ensemble (which includes John Clark's French horn and the tuba of Howard Johnson) had quickly gained its own sound and the results are quite memorable and frequently exciting. Recommended.

In the Altonaer Fabrik in 1986, the master trumpeter Freddie Hubbard was a guest in the trio of one of the most important pianists of contemporary jazz: McCoy Tyner, whose extremely powerful attack always added percussive power of the most energetic kind to his virtuoso playing. McCoy Tyner died in March 2020, the recording from 1986 (he was 58 years old at the time) show him at the height of the unmistakable jazz expression that defined him. His piano and the enormous radiance of the Hubbard trumpet (born in the same year as Tyner in 1938, but died in 2008) are the outstanding protagonists. But the recording also features bassist Avery Sharpe, born in 1954 and with excellent acoustic and electrical credentials, as well as Louis Hayes, still today the most indestructible of all modern drummers at well over 80 years of age. Together they refine the nine titles of this two-hour concert on this truly remarkable evening of music!

One of the better McCoy Tyner records on Milestone, this live set from San Francisco features the masterful pianist playing solo on "Naima" and leading a strong sextet (with George Adams on tenor, flute, and soprano; Joe Ford on alto and flute; bassist Charles Fambrough; drummer Woody "Sonship" Theus; and percussionist Guilherme Franco) on four of his originals. There are remakes (quite different from the originals) of "Fly with the Wind" and "The Greeting" and two newer pieces, including the atmospheric "Hand in Hand." An excellent example of McCoy Tyner's playing in the 1970s.

Born in Philadelphia on 11th December 1938, as a youth McCoy Tyner was encouraged to study piano by his mother and began lessons at age 13. Within two years music had become the focal point in his life and Tyner was playing on his neighbor's instrument, but his family soon invested in one of his own for the budding musician, following which he began hosting jam sessions at home. Among his friends were a number of other young musicians who would go on to make their mark in the field of jazz, including Lee Morgan, Archie Shepp, Bobby Timmons, Reggie Workman, and most notably, fellow pianist Bud Powell and his brother Richie. McCoy later said, Bud and Richie Powell moved into my neighborhood. Bud was a major influence on me during my early teens. He was very dynamic. Tyner later attended the West Philadelphia Music School and the Granoff School Of Music.

There are no weak McCoy Tyner albums and this relative obscurity is better than average. The great pianist is heard with an all-star nonet that includes Hubert Laws on flute, vibraphonist Bobby Hutcherson, altoist Paquito d'Rivera, Chico Freeman on tenor, and trumpeter Marcus Belgrave, plus a seven-piece string section. The music (five Tyner originals) is highly rhythmic and generally quite stimulating. A strong effort.

Those familiar with the dense, percussive style that pianist McCoy Tyner has cultivated since the 1970s onwards may be surprised by what they hear on Inception. Like Reaching Fourth and Nights of Ballads and Blues, this album gives listeners the chance to hear what a very young Tyner sounded like outside the confines of the classic John Coltrane quartet of the early '60s; it reveals a lyrical approach to jazz piano that seems a far cry from Tyner's mature style. The choice of material is fairly evenly split between modal pieces like "Inception" and more harmonically involved tunes like "Speak Low," and the pianist's treatment of both demonstrates the extent to which his early work was rooted in bebop…

Violinist Stephane Grappelli, although a veteran of the swing era, has always kept an open mind toward newer styles even while he has retained his own sound and veteran repertoire. This duet set with pianist McCoy Tyner might seem unlikely at first glance but it works quite well. The duo sticks to standards (including two that are associated with John Coltrane) and find plenty of common ground. The mutual respect they have for each other is obvious and they both sound a bit inspired.

McCoy Tyner's fourth studio album has a split personality, with three tracks featuring an intriguing sextet of all-stars, and the rest with his trusty trio, done eight months apart. Perhaps the tracks with bassist Jimmy Garrison and drummer Albert Heath were leftovers from a prior incomplete or aborted full session, but anything Tyner played in this period was precious. The larger ensemble recordings present trumpeter Thad Jones as ostensible co-leader, composer of one selection, and lead soloist. Tenor saxophonist John Gilmore and alto saxophonist Frank Strozier join forces with Thad Jones to make what some might deem an unlikely front-line triad, but effective enough considering their established individualism…

This set matches the McCoy Tyner Trio (which includes bassist Cecil McBee and drummer Al Foster) with four different guests. Altoist Arthur Blythe and vibraphonist Bobby Hutcherson fare best but both trumpeter Freddie Hubbard and guitarist John Abercrombie also have their strong moments. In addition to four Tyner compositions, there is one song apiece from McBee, Abercrombie, and Hutcherson in addition to four jazz standards. This collection is a fine all-around showcase for the brilliant pianist even if no new ground is broken.

In 1978 a tour was set up that would feature three of the top jazz stars of Milestone Records (tenor saxophonist Sonny Rollins, pianist McCoy Tyner, and bassist Ron Carter) in a quartet with drummer Al Foster. The resulting recording has many strong moments, including Rollins' unaccompanied solo on "Continuum," his duet with Tyner on "In a Sentimental Mood," Tyner's showcases on "A Little Pianissimo" and "Alone Together" (the latter a duet with Carter), and the bassist's lengthy reworking of "Willow Weep for Me." The quartet pieces generally work well too, with these compatible but very individual stylists blending together much better than one might expect.

This hour-long concert album offers a chance to hear McCoy Tyner in a rare solo performance. His playing is fast and daring, as the ideas tumble one after another in his improvisations, whether he is addressing an original like "Suddenly," an old favorite written by his old boss John Coltrane, "Giant Steps," or a ballad standard like "Darn That Dream." A virtual retrospective on a long career by a still-vital artist, Live in Warsaw offers the listener an opportunity to hear Tyner's mature reflections on the music of his past and present in an unfettered context.

This set gave pianist McCoy Tyner his first opportunity to write music for a larger group that included brass, flutes, and - on two of the five songs - a string section. The powerful pianist is in fine form and the main soloist throughout (although there are spots for trumpeter Virgil Jones and the flute of Sonny Fortune). Most memorable is the title cut and a reworking of "Afro Blue."