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Front Cover Photo by Gene Martin tsBN0-7935-0747-2
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McGoy TyneÍ. GoNTENTS
Biography TITLE 22 FlyWithThe!íind 7 Folk
RECORDING FIy!íith The!íind (Milestone M-9067) Echoes Of A Friend(Milestone M-9055)
3 2 ForTomorrow
(Milestone lnnerVoices M-9079)
4 7 HighPriest
TenderMoments(BlueNote85T84275)
4 6 l s l a n dB i r d i e
Looking Out(Columbia BL38053)
56 JustIn Time
- 60350-1-E) Dimensions (Elektra
7 1 LaHabana Sol Sun) fhe Havana
LaLeyenda DeLaHora(Columbia AL37375) -ffhe LegendOf TheHour)
78 Man FromTanganyika
TenderMoments(BlueNote8ST84275)
8 5 ThemeForNana
FocafPoint(Milestone M-9072)
9 2 Prelude ToA Kiss
- 60350-1-E) (Elektra Dimensions
1 1 2 SefrorCarlos
Looking Out(Columbia BL38053)
1 0 0 YouStepped OutOf A Dream
Fly!íith TheV/ind(Milestone M-9067)
BIOGRAPHY '6Osquartet, early McCoyTynerÍirstexplodedon the sceneasa partof JohnColtrane's groupsin jazzhistory.Overthe pastdecade and influential certainlyone of the mostinnovative arranger, nichefor himselfasa composer, band leaderand most he'scarveda mostimpressive a pianistwhoseuniqueand forcefulstylehasinspiredand influenced a wholenew significantly g e n e r a t i oonf m u s i c i a nH t n t h e m u s i co f t h e ' 7 0 sa n d ' B O sa n d c o n t i n u i ntgh r o u g ht h e s .i si m p a c o '90s
to Coltrane's is comparable on the musicof the
'60s.
a D e c e m b e1r1 , 1 9 3 8 ,t h e o l d e s ot f t h r e ec h i l d r e nH. e w a s M c C o yw a sb o r ni n P h i l a d e l p hor n to studypianoby his mother.He Íinallybeganstudyingthe pianoat age 13 and encouraged withintwo years,musichad becomethe focalpointin his life. piano.Whenhisfamilyboughtone,he on a neighbor's In the beginningMcCoypracticed werea numberof youngmusicians Amonghisfriendsand neighbors beganhostingjam sessions. Archie who wouldgo on to maketheirmarksin jazz,suchastrumpeterLeeMorgan,saxophonist ReggieWorkman."Budand RichiePowellmovedinto Shepp,pianistBobbyTimmons,and bassist Budwasa majorinfluence my neighborhood. on me duringmy earlyteens.He wasvery Mond and Art TatumwereyoungMcCoy'smajorinfluences. dynamic."In addition,Thelonious McCoy,obviouslya veryfast learner,at age 15 led hisfirst band, a 7 pieceband that played MusicSchooland laterat Granoff the rhythmand blueshits.He studiedat the WestPhiiadelphia wherehe learnedtheoryand harmony.At age 17, while MusicSchool,alsoin Philadelphia playingat a localclubcalledthe RedRooster, with a bandled by trumpeterCalMassey, also knownto few closefriendsas "Folks",he first met.JohnColtrane. betweengigswith MilesDavis.The saxophonist, whose wasin Philadelphia Coltrane wason the rise,had no distinctive stylewasstillin itsformativestagesand whosereputation a few engagements in and aroundPhiladelphia, with workinggroupof hisown, but secured McCoyoften in his rhythmsection. thatColtranehadn'tdeveloped the wayhe wouldlateron, but "aÍterI McCoylaterrecalled The rapportbetweenthe two wasso heardhim play,I knewhe wassomeoneexceptional." havea regularbandwith McCoy apparent, that Coltrane madeit clearthat he hopedto eventually Tynerin it. I n 1 9 5 9M c C o yw, h o h a db e e nw o r k i n gm a i n l yi n a n d a r o u n dP h i l a d e l p h iwaa, s o f f e r e hd i s Íirstfull-timejob in musicwith the Jazztet, a groupco-ledby Art Farmerand BennyGolson. McCoystayedwith the group6 months,long enoughto makehisrecordingdebuton the album Meet TheJazztet,but left when Coltraneíinallyleft MilesDavisto form his own group.
*É :,8;
#
Thechemistry Tynerand drummerElvinJoneswasimmediately betweenColtrane, apparent. Coltrane beíoresettlingon JimmyGarrison. Thatchemistry can wentthrougha numberof bassists "My be heardon the group'sfirstrecordings for AtlanticRecords in 1960,whichincludethe classic, Favorite Íor waysto extendthe boundaries Things."Coltrane wassearching of jazz,includinga denserharmonicstructure, approach a multi-layered to rhythm,and a greaterreliance on scales and modesas a basisfor improvisation, and McCoywasrighttherewith him.
The pianistparticipated in numeroushistorical recording sessions with Coltrane, including Africa Brass, A LoveSupreme,and Áscension, to namea few, during hissix yeartenurewith the quartet.He alsobeganrecording on hisown,occasionally in a trio context(hisÍirstalbumwas lnceptÍon, recordedin 1962for lmpulse,whichhad becomeColtrane's label),and tendedroward a somewhatmoremelodicand conservative approach than he displayed in the contextof group. Coltrane's As closeas hismusicalrelationship with Coltranewas,it wasinevitable that Mccoywould eventually wantto form hisown group.Hissplitfrom hismentor,whichwasan amicableone, was hastened by the factthat Coltrane, whosemusicwasmovingin an increasingly free-formdirection, had addeda secondsaxophonist (Pharoah Sanders) and a seconddrummer(Rashid Ali). McCoywas simplyhavingdifÍicultyhearinghimselfplay. Unfortunately, for the nextfew years,he encountered difficultymakinga livingplayinghis music.He continued to recordasa leader,makinga seriesof impressive albumsfor the BlueNote label,and he workedas a sidemanwith the greatArt Blakeyand hisJazzMessengers. lt took McCoyseveralyearsto establishhimselÍas a leader. In 1971 McCoysigneda recordingcontractwith MilestoneRecords, at whichtime thingsbegan to improve.Hisfirstalbumfor the label.Sahara, released the followingyear,received two Grammy nominationsand wasnamed"AlbumOf TheYear" inthe DownBeatCritics Poll.Subsequent Lp'sÍor the labelfound him strelching out in a wide varietyoÍ musicalcontexts. He recordedwith strings, with largehornsections, with voices;with all-starensembles, with tightly-knittrios,and solo;in clubs,in concert,and in the studio.In '78 he teamedwith SonnyRollins,RonCarterand Al Fosterro tour the U.S.asthe Milestone Thetour,documented on a livedoubleLp set,wasone of the Jazzstars. mostextensively-promoted jazzensemble. eyerbyan acoustic Throughout the'70s, hisart and influence ccntinuedto grow.Hisreadilyidentifiable piano style- forceful,percussive, dense,but alsocapableoí tenderlyricism- camemoreclearlyinto focus.5o did hisinfluence; thereare few jazzpianists on the scenetoday,includingthe veterans, whosestyleshavenot in someway beentouchedby his.Thisinfluencehasbeenfelt alsoin the contributions of the manyoutstanding musicians who havegainedvaluableschooling as members of his band,suchasthe late!íoody Shaw,SonnyFortune,AlphonseMouzon,AzarLawrence, Gary Bartz,GeorgeAdams,JoeFord,JohnBlake,BennyMaupin,and Guillherme Francoto namea Íew. McCoy'sdedicationto the acousticpiano and reÍusalto convertto electricityhasbeenan inspirationto many. The worldwideawardsand accolades aretoo numerousto list.SuÍficeto saythat he rs recognized by musicians, crjticsand listeners alikeasa majorforceof the'60s, '70s,'BOsand now the'90s.
FOLKS
Freely
By McCOY TYNER
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