![]() ![]() All jazz keyboardists refer to him in ways large or small, conscious or unconscious. Tyner made jazz history because he understood jazz history. As a teenager in musically rich Philadelphia, where Coltrane befriended the younger musician (twelve years his junior), Tyner became obsessed with the bebop greats, Bud Powell and Thelonius Monk. These two occupied opposite ends of the modern jazz spectrum, from the fleet to the sparse, and Tyner learned important lessons from both. We all know where we are working from.In his Jazz Roots solo album of 2000, Tyner offered his appreciation of, and creative response to, his forbears-not just Powell and Monk, but also Scott Joplin, Duke Ellington, Fats Waller, and others. ![]() “Nevertheless, there is a foundation and a point of return. Tyner said in 1963, when the quartet was in its prime. ![]() “It is all a matter of giving the soloist more freedom to explore harmonically,” Mr. The Coltrane quartet modeled a new kind of ancient thinking about music: as a collective ritual, one that lived by a pledge of mutual independence as well as support. His right hand’s brisk, zipping phrases made it just as recognizable as the left, if not quite as iconic. Tyner’s piano had become one of the distinctive forces in jazz: His pot-stirring left hand pounded heavy bass notes, then topped them off with roving stacks of harmony. Tyner, who died on Friday, is also the story of a bandleader and composer whose granite style remained intact even as he tracked the music’s developments, from bebop into free jazz.īy the time he left Coltrane’s group in 1965, Mr. ![]() The pianist McCoy Tyner’s impact on music is usually explained through his relationship to John Coltrane, a childhood friend who became his boss in one of the most significant ensembles in American history. ![]()
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