Bobby Hutcherson - Stick Up!

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 40:26
Size: 93,1 MB
Art: Front

(6:26)  1. Una Muy Bonita
(6:58)  2. 8/4 Beat
(6:59)  3. Summer Nights
(6:57)  4. Black Circle
(9:32)  5. Verse
(3:32)  6. Blues Mind Matter

One of Bobby Hutcherson's best albums, Stick-Up! was also his first official release not to feature drummer Joe Chambers, who was a major part of Hutcherson's outside leanings. Instead, Stick-Up! stakes out the middle ground between hard bop and the avant-garde, offering a set of structured yet advanced modal pieces indebted particularly to Coltrane. Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson. Tyner in particular is a standout, charging relentlessly forward on the intricate "8/4 Beat" and "Black Circle" and lending a Coltrane-ish flavor to the spiritually searching "Verse." The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that coupled with the energetic performances ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
~ Steve Huey https://www.allmusic.com/album/stick-up%21-mw0000028035

Personnel: Joe Henderson - tenor saxophone;  Bobby Hutcherson - vibraphone, composer; McCoy Tyner - piano; Herbie Lewis - bass; Billy Higgins - drums

Stick Up!

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Steve Grossman - In New York

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 72:56
Size: 167,2 MB
Art: Front

(13:15)  1. Speak Low
( 9:46)  2. My Ship
(12:09)  3. Softly as in a Morning Sunrise
(10:15)  4. Impressions
( 9:30)  5. Over the Rainbow
( 8:56)  6. Love for Sale
( 9:02)  7. Good Bait

For his second Dreyfus Jazz album, Grossman ventures into New York's Sweet Basil club, with a stellar piano trio (McCoy Tyner, Avery Sharp, Art Taylor) in tow. With this kind of firepower, the listener is usually guaranteed a satisfying level of cooking jazz, and that's certainly what we get here, though it seldom rises above that into a higher region. Grossman's tune choices are mostly predictable standards, the one exception being his own cheeky title "Love for Sal," a bop-style number where the bass and then the piano double the tune's lead sax statement. Throughout, Grossman likes to fire away the eighth notes in that pungent, Sonny Rollins-influenced tenor tone, with Tyner often temporarily (and generously) dropping out so that the saxophonist can develop freer melodic patterns over the bass and drums. "Impressions" taken virtually at Tyner's late employer John Coltrane's tempo does achieve a special ignition, driven hard by Taylor, with some exploration of multiphonics by an inspired Grossman. Otherwise, a mostly solid live session of post-bop.By Richard S.Ginell http://www.allmusic.com/album/in-new-york-mw0000627313

Personnel: Steve Grossman (tenor saxophone); McCoy Tyner (piano); Avery Sharpe (bass); Art Taylor (drums).

In New York

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John Coltrane With Eric Dolphy - Evenings At The Village Gate

Styles: Modal, Post Bop
Year: 2023
File: MP3@320K/s
Time: 80:03
Size: 183,6 MB
Art: Front

(15:53) 1. My Favorite Things
(15:27) 2. When Lights Are Low
(10:12) 3. Impressions
(16:02) 4. Greensleeves
(22:26) 5. Africa

Recorded in 1961, Evenings at the Village Gate: John Coltrane with Eric Dolphy showcases the legendary saxophonist's quintet during their monthlong residency at the storied Greenwich Village nightclub. Along with Dolphy on alto saxophone, bass clarinet, and flute, Coltrane's group here features his classic lineup of pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones.

This is the same group that would go on to record such landmark albums as 1961's Olé Coltrane, 1961's Africa/Brass, and appear together on 1961's Live! at the Village Vanguard. Recorded on a single ribbon microphone by future Nina Simone and Bob Dylan engineer Richard Alderson, the album was never intended to be released as a professional recording.

Primarily, Alderson (who was in his early twenties at the time and working as a soundman for the club) wanted to check the room's sound and try out his new microphone. The recording would eventually make its way into the vast archive of The New York Public Library for the Performing Arts, where it would be largely forgotten before eventually being rediscovered. While the sound itself is not as robust as the later Vanguard recordings, it still delivers an exciting fly-on-the-wall atmosphere, capturing the group at the apex of their transition from hard-driving modal jazz to the more avant-garde, harmonically free approach Coltrane would embrace by the middle of the decade.

Much of this transition was brought on by Dolphy, whose wide, intervallic style and adventurous harmonies had a strong influence on Coltrane, which can be heard from both players throughout the recording. Most interesting is their take on "My Favorite Things," which Coltrane recorded a year prior for his album of the same name and which became somewhat of a radio hit. Where that original recording found Coltrane interpolating the melody to a degree, here, he pushes the song to ever more bold heights, utilizing spiraling multi-note runs and throaty, atonal smears.

Equally exploratory atmospheres mark the group's take on "Impressions," a regular song in Coltrane's live shows that he leaps into here with a wild abandon. It's also easy to imagine just how unusual and distinctive Dolphy must have sounded to audiences at the time. This is especially evident when he takes the bass clarinet lead on "When Lights Are Low," playing the melody with a stark soulfulness in a style reminiscent of Sonny Rollins before launching into a solo that quickly frays the harmonic edges of the lyrical standard. Tragically, within six years after this recording, both Dolphy and Coltrane would be gone. Despite the understated and lo-fi nature of the recording, Evenings at the Village Gate is a testament to their profound artistry and creative synergy. By Matt Collar
https://www.allmusic.com/album/evenings-at-the-village-gate-john-coltrane-with-eric-dolphy-mw0004003962

Personnel: Soprano Saxophone, Tenor Saxophone – John Coltrane; Bass – Art Davis, Reggie Workman; Drums – Elvin Jones; Flute, Bass Clarinet, Alto Saxophone – Eric Dolphy; Piano – McCoy Tyner

Evenings At The Village Gate: John Coltrane with Eric Dolphy

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John Coltrane & Archie Shepp - New Thing At Newport

Styles: Saxophone And Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 66:03
Size: 151,5 MB
Art: Front

( 1:08) 1. Spoken Introduction To John Coltrane's Set By Father Norman O'connor
(12:44) 2. One Down, One Up
(15:21) 3. My Favorite Things
( 2:02) 4. Spoken Introduction To Archie Shepp's Set By Billy Taylor
(10:28) 5. Gingerbread, Gingerbread Boy
( 6:43) 6. Call Me By My Rightful Name
( 3:26) 7. Scag
( 5:49) 8. Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)
( 8:19) 9. Le Matin Des Noire

What better place than the Newport Jazz Festival, a historically tight-laced and conservative jazz forum, for the quartets of Coltrane and Shepp to pour out their soulful selves as libations for the masses? Prior to this 1963 concert the festival’s track record with adventurous jazz fare was checkered at best. Monk and Giuffre had played there in previous years, but the focus was undeniably on the accessible and the mainstream. Things had become so skewed that Charles Mingus, Max Roach felt obligated to organize a concurrent festival of their own in protest and were given the sobriquet The Newport Rebels. Coltrane’s immense popularity made him the perfect candidate to breach Newport’s defenses and in typical benevolent fashion he brought a host of his associates in tow for a unified siege on the senses and sensibilities of the audience. What a spectacle it must have been. Fortunately the tape machines were rolling.

As if in deference to the Newport jazz community’s naïveté toward the New Thing embarrassingly banal comments from Father Norman O’Conner preface and append Trane’s performance. The so-called ‘jazz priest’ demonstrates his ignorance by referring to Elvin Jones as a ‘kind of a newcomer to the world jazz.’ Mercifully his introductions are brief and the quartet works up a lengthy lather on “One Down, One Up” before launching into a burning rundown of “My Favorite Things.” Compared to other concert recordings by the quartet the first piece is just below par, though there’s still plenty of incendiary fireworks ignited by the four on second. Coltrane’s upper register tenor solo becomes so frenetic on “One Down, One Up” that there are moments where he moves off mic, but his soprano work on “My Favorite Things” is nothing short of astonishing, a blur of swirling harmonics that threatens split his horn asunder.

After Coltrane and crew have sufficiently anointed the Newport crowd in a monsoon of New Thing sentiments it’s Shepp’s turn. His set is a different bag, brimming with political overtones and barely contained dysphoria and his sound on tenor is an arresting amalgam of raspy coarseness and delicate lyricism. Hutcherson’s glowing vibes knit gossamer webs around the rhythmically free center accorded by Phillips and Chambers. It all comes to boil on the haunting “Scag” a tone poem fueled by Phillips acerbic bow, Hutcherson’s ghostly patterns and Shepp’s bone dry recitation that captures the loneliness of a junkie’s desperation. The stuttering starts and stops of “Rufus” carry the feeling of cultural dislocation even further referencing the brutality and finality of a lynching through musical means. Shepp and his partners were pulling no punches in exposing the captive audience to their art. A low-flying plane disrupts the opening of “Le Matin des Noire,” but the four players quickly regain direction and sink into a lush Noirish vamp that carries the tune to a close.

This new version of the disc marks the first time the original 3-track tapes of the concert have been remastered and they are given the royal treatment through 24-bit digital transfers. Also included for the first time is a beautiful facsimile of the Shepp album cover picturing the saxophonist with song charts and horn.By Derek Taylor
https://www.allaboutjazz.com/new-thing-at-newport-john-coltrane-impulse-review-by-derek-taylor

Players: John Coltrane- soprano & tenor saxophones; McCoy Tyner- piano; Jimmy Garrison- bass; Elvin Jones- drums; Archie Shepp - tenor saxophone, recitation; Bobby Hutcherson - vibraphone; Barre Phillips- bass; Joe Chambers - drums.

New Thing At Newport 1965

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McCoy Tyner & Jackie McLean - It's About Time

Bitrate: MP3@320K/s
Time: 37:27
Size: 85.7 MB
Styles: Piano jazz, Saxophone jazz
Year: 1985
Art: Front

[5:56] 1. Spur Of The Moment
[6:34] 2. You Taught My Heart To Sing
[6:19] 3. It's About Time
[6:30] 4. Hip-Toe
[5:38] 5. No Flowers Please
[6:28] 6. Travelin'

Alto Saxophone – Jackie McLean (tracks: 1 to 4); Bass – Ron Carter (tracks: 1, 4, 5); Drums – Al Foster; Electric Bass – Marcus Miller (tracks: 2, 3, 6); Percussion – Steve Thornton (tracks: 2, 3, 6); Piano – McCoy Tyner; Trumpet – John Faddis (tracks: 1, 4). Recorded at: Right Track Studios, New York City, on April 6, 7, 1985

As far as McLean is concerned, the title of this album should be changed to `It`s Overdue,` because almost eight years have passed since this magnificent alto saxophonist entered a recording studio.

In today`s revivalistic climate, McLean is the model for most of the young alto players who are mining the hard-bop lode. But each phrase McLean plays here makes it clear that there is a vast difference between imitation and the real thing. The constant sense of pressure in McLean`s solos the feeling that vital emotional and musical choices are being made at all timesis simply overwhelming; and it seems appropriate when, on one track, either Tyner or bassist Ron Carter begins to moan in approval as McLean carves out an especially heartfelt line. `It`s About Time` is not a perfect setting for McLean. One wishes he had played on all six tracks instead of just four, and trumpeter Jon Faddis gets rather circusy on `Spur of the Moment. But Tyner certainly rises to the occasion throughout (his `Spur of the Moment` solo comes close to shattering the keyboard), while Carter, who has become rather self-indulgent in recent years, seems to be uncommonly involved in the proceedings. ~Larry Kart

It's About Time

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John Coltrane - A Love Supreme: Live in Seattle

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 75:31
Size: 173,2 MB
Art: Front

(21:53) 1. A Love Supreme, Pt.I: Acknowledgement
( 2:28) 2. Interlude 1
(11:05) 3. A Love Supreme, Pt.II: Resolution
( 6:23) 4. Interlude 2
(15:27) 5. A Love Supreme, Pt.III: Pursuance
( 6:32) 6. Interlude 3
( 4:20) 7. Interlude 4
( 7:21) 8. A Love Supreme, Pt.IV: Psalm

John Coltrane was moving faster than the speed of sound in 1965. Besides divining his place within the music, the world, his God, he was touring; a two week gig with Thelonious Monk at the Village Gate led to Newport then into a frenetic week in Europe. With the classic quartet plus Archie Shepp, Art Davis and Freddie Hubbard he had just completed the mind-bending sonic assault Ascension (Impulse!, 1966). That anyone could keep up with him or think one step ahead of him was Herculean. Few did. That is why we are still fascinated to listen when they do. To discover. To be some small part of something larger.

A Love Supreme: Live In Seattle memorialises for only the second known time; the first full performance of this holy suite was in Antibes, France, on July 26, 1965 released masterfully after decades of bootlegs, variations, and augmentations galore as part of A Love Supreme: The Complete Masters (Impulse, 2013).

Discovered in the private collection of Seattle saxophonist and educator Joe Brazil, this blistering October 2, '65 performance culminated a week's residency at The Penthouse, where the fiercely difficult and unapologetically atonal Live In Seattle (Impulse, 1971) was also recorded. Here, we find Coltrane moving singularly beyond the structures and strictures of the summer, expanding the live sound to include not only McCoy Tyner, Elvin Jones and Jimmy Garrison but also fellow rogue sax visionary Pharoah Sanders, second bassist Donald Raphael Garrett and also on sax Carlos Ward.

Despite the lack of contemporaneous fanfare, and given the fact that the night was recorded with two microphones, A Love Supreme Live In Seattle is not only a performance for the ages but a marvelous sounding one as well. Intensely immersive, the music builds upon the original template until it becomes something startlingly original yet again: A revived prayer, a bold logistic, a howling tribute to the soul. Each man is a force of indisputable nature (check out Tyner and Jones especially on "Pursuance: Part III," Coltrane and Sanders free, shrieking energy throughout.) Wheeling, keening, pleading, the music implores the higher power to reveal himself/herself/itself to the club's capacity crowd (275 very lucky souls) and now it implores us, compels us, to pay reverent attention to every moment. To every breath. And pray. By Mike Jurkovic https://www.allaboutjazz.com/a-love-supreme-live-in-seattle-john-coltrane-impulse-records__25172

Personnel: John Coltrane: saxophone; Pharoah Sanders: saxophone, tenor; Carlos Ward: saxophone, alto; McCoy Tyner: piano; Jimmy Garrison: bass, acoustic; Donald Garrett: bass, acoustic; Elvin Jones: drums.

A Love Supreme: Live in Seattle

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Joe Henderson - The Complete Blue Note Studio Sessions (5-Disc Set)

Styles: Jazz
Year: 2021
Time: 79:01
File: MP3 @ 320K/s
Size: 180,9 MB
Art: Front

(15:18) 1. Una Mas (One More Time)
( 8:58) 2. Straight Ahead
( 7:20) 3. Sao Paulo
( 5:08) 4. If Ever I Would Leave You
( 8:01) 5. Blue Bossa
( 9:09) 6. La Mesha
( 4:14) 7. Homestretch
( 6:02) 8. Recorda Me
( 7:23) 9. Jinrikisha
( 7:24) 10. Out of the Night

If an artist stamps his jazz passport with any one of these labels Blue Note, Verve, Milestone it's pretty much a guarantee that you've arrived in style. Tenor saxophonist Joe Henderson has traveled with all three and more. The 2021 reissue from the prestigious Mosaic Records focuses on Henderson's 1960s tenure with Blue Note offers a new opportunity to experience an abundance of rich and creative jazz from the decade.

Big band and bop were duking it out in the late 1940s, bebop gained a foothold in the 1950s and the 1960s saw some amazingly creative artists emerge as they conjured up even more jazz hybrids (straight jazz, Avant-Garde, fusion and more). Henderson began to come of age during the very late 1950s, the tail end of one of the most dynamic and creative decades for jazz. He then moved confidently into the 1960s and beyond. He began to gain momentum in the 1960s (sitting in with saxophone master Dexter Gordon early on), learned from listening to other sax giants including Charlie Parker and Sonny Rollins and soon teamed up with numerous A-list artists including trumpeter Kenny Dorham, a Blue Note co-artist. The spotlight shifted a bit during the seventies and eighties for Henderson but he was amazingly prolific in the 1990s. Verve championed him during that decade with a high profile 'come back' campaign and sessions such as Lush Life (1982) contained everything from the supple and smoky "Isfahan" and "Blood Count" to the soaring and spontaneous "Johnny Come Lately." Touring took him to various venues and in a talk backstage after a mid-1990s concert, Mr. Henderson was dapper and smartly dressed, low key, quiet and reserved. He was a joy to talk to. But his constant companion, a lit cigarette, was absent, probably due to venue restriction (chain smoking eventually took him down in 2001.)

Mosaic collected nearly fifty cuts on five CDs and captured a world of spontaneous creativity. In addition, a modest yet informative booklet is included. A book's worth of praise could follow, so let's look at a few tracks from each compact disc: Everything gets underway with the title cut from trumpeter Kenny Dorham's Una Mas (1963) album in which Henderson joins as a featured sideman. At over fifteen minutes, the opening track is a celebration of the then contemporary sounds of Bossa Nova, with hints of other styles including the blues. He may be the second billed musician on the disc, but Henderson's sax is supple, lush and creatively enticing as a close bond was being forged between the two men. Everyone swings, and they are upbeat on "Straight Ahead," one of the other standout tracks from the Dorham-lead sessions. (full review => https://www.allaboutjazz.com/the-complete-joe-henderson-blue-note-studio-sessions-joe-henderson-mosaic-records)

Personnel: Joe Henderson: Saxophone; Kenny Dorham: Trranumpet; Herbie Hancock: Piano; Tony Williams: Drums; McCoy Tyner: Piano; Bob Cranshaw: Bass; Duke Pearson: Piano; Richard Davis: Bass, Acoustic; s: Drums; Tommy Flanagan: Piano; Ron Carter: Elvin Jones: Bass; Cedar Walton: Piano; Lee Morgan: Trumpet; Curtis Fuller: Trombone; Grant Green: Guitar; Bobby Hutcherson: Vibraphone; J.J. Johnson: Trombone; Al Harewood: Drums; Woody Shaw: Trumpet; Andrew Hill: Piano.

The Complete Blue Note Studio Sessions CD1

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Styles: Jazz
Year: 2021
Time: 76:41
File: MP3 @ 320K/s
Size: 175,6 MB
Art: Front

( 8:17) 1. La Mesha (alternate take)
( 7:38) 2. Homestretch (alternate take)
( 8:33) 3. Teeter Totter
(10:05) 4. Pedro's Time
( 5:38) 5. Our Thing
( 6:20) 6. Back Road
( 8:06) 7. Escapade
( 7:11) 8. Teeter Totter (alternate take)
( 5:31) 9. Our Thing (alternate take)
( 9:18) 10. In 'N Out (alternate take)

The Complete Blue Note Studio Sessions CD2

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Styles: Jazz
Year: 2021
Time: 76:45
File: MP3 @ 320K/s
Size: 175,7 MB
Art: Front

(10:25) 1. In 'N Out
( 9:09) 2. Punjab
( 6:17) 3. Serenity
( 7:11) 4. Short Story
( 6:25) 5. Brown's Town
(12:24) 6. Trompeta Toccata
( 5:46) 7. Night Watch
(11:05) 8. Mamacita
( 8:00) 9. The Fox

The Complete Blue Note Studio Sessions CD3

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Styles: Jazz
Year: 2021
Time: 78:40
File: MP3 @ 320K/s
Size: 180,1 MB
Art: Front

(11:58) 1. Inner Urge
( 9:16) 2. Isotope
( 7:14) 3. El Barrio
( 7:21) 4. You Know I Care
( 7:24) 5. Night and Day
( 8:14) 6. Hobo Joe
( 8:30) 7. Step Lightly
( 6:07) 8. The Kicker
( 5:46) 9. Mo' Joe
( 6:45) 10. If

The Complete Blue Note Studio Sessions CD4

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Styles: Jazz
Year: 2021
Time: 59:11
File: MP3 @ 320K/s
Size: 135,5 MB
Art: Front

(7:08) 1. A Shade of Jade
(8:03) 2. Mode for Joe
(6:53) 3. Black
(6:43) 4. Caribbean Fire Dance
(7:23) 5. Granted
(6:41) 6. Free Wheelin'
(9:28) 7. Mode for Joe (alternate take)
(6:49) 8. Black (alternate take)

The Complete Blue Note Studio Sessions CD5

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McCoy Tyner & Freddie Hubbard Quartet - Live at Fabrik Hamburg 1986

Styles: Piano And Trumpet Jazz
File: MP3@320K/s
Time: 127:08
Size: 291,9 MB
Art: Front

(11:15) 1. Inner Glimpse
( 0:42) 2. Announcemet
(14:36) 3. Latino Suite
(14:53) 4. Body and Soul
(25:47) 5. Nero-Terra
(17:44) 6. Island Birdie
(14:43) 7. Round Midnight
(17:10) 8. Blues For Basie
(10:13) 9. What Is The Thing Called Love

Warning! Highly Flammable Material! This superb album, recorded in Hamburg in 1986 and never previously released, ought to come with a caution, so incendiary is it.

Strictly speaking, Live At Fabrik presents pianist McCoy Tyner's trio with bassist Avery Sharpe and drummer Louis Hayes and guest artist Freddie Hubbard on trumpet and flugelhorn. In actuality, Hubbard's power-packed presence transforms the unit into a co-led quartet, as the cover art acknowledges. The 2 x CD album is, in effect, the chronicle of a summit meeting between two giants of post-bop jazz one of them, Hubbard, on the rebound from a fall from grace occasioned by his embrace of fusion in the 1970s, the other, Tyner, a bandleader who had never let his standards drop.

Hubbard exploded on to the scene at the start of the 1960s with a series of Blue Note albums under his own name and that of tenor saxophonist Tina Brooks and lest we forget, Tyner was the pianist on Hubbard's 1960 own-name debut, Open Sesame. Sideman dates followed for the likes of tenor saxophonist John Coltrane, pianist Herbie Hancock, drummer Art Blakey and reed player Eric Dolphy. The 1970s, by contrast, were for the most part a wasteland, as Hubbard hitched his wagon to fusion and the pursuit of big bucks.

Tyner, on the other hand, after spending the first half of the 1960s as a member of Coltrane's classic quartet, kept the faith, metaphorically and literally (he had changed his name to Suleiman Saud in 1955), unencumbered, unlike Hubbard, by the need to maintain an expensive lifestyle which included a heavy late-1970s cocaine habit. But by the mid-1980s, Hubbard was back on the same page as Tyner and keen to prove it. The opening track on Live At Fabrik is a fiery performance of Tyner's propulsive "Inner Glimpse," on which Hubbard matches Tyner's intensity lightning flash by lightning flash, and the temperature rarely drops for the next two hours.

In a 2001 interview with All About Jazz's Craig Jolley, Hubbard said that, back in the 1960s, "Lee Morgan was the only young cat that scared me when he played. He had so much fire and natural feeling. I had more technique, but he had that feeling." Many listeners, including hardcore Morgan fans, would dispute the "natural feeling" part of that judgement, both as regards high-octane material such as "Inner Glimpse" and ballads such as John Green's "Body And Soul" and Thelonious Monk's "Round Midnight," both of which are given emotionally charged readings by Hubbard (and Tyner).

Disc one concludes with a twenty-six minute performance of Hubbard's "Neo-Terra," previously heard on his ghastly Bob James-produced 1976 Columbia album, Windjammer. This time out it makes for exhilarating rather than infuriating listening (although to nitpick, Hubbard's pyrotechnics do at times touch on flash rather than substance).

And so the party continues. Side two highlights include Tyner's high spirited "Island Birdie" and raucous "Blues For Basie." The sound is perhaps a little boomy at times, but that may have been unavoidable in the cavernous converted-factory space of Fabrik which appropriately, the liner notes tell us, at one period manufactured explosives. Tyner and his trio are high impact throughout Live At Fabrik, but perhaps the biggest cause for celebration is Hubbard, back with a bang.
~Chris May https://www.allaboutjazz.com/live-at-fabrik-mccoy-tyner-freddie-hubbard-quartet-jazzline-classics

Personnel: Freddie Hubbard: trumpet; McCoy Tyner: piano; Avery Sharpe: bass; Louis Hayes: drums.

Live at Fabrik Hamburg 1986

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Charlie Rouse - Bossa Nova Bacchanal

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 42:32
Size: 97,8 MB
Art: Front

(3:56)  1. Back to the Tropics
(2:58)  2. Aconteceu
(4:50)  3. Velhos Tempos
(6:18)  4. Samba de Orfeu
(5:56)  5. Un Dia
(5:58)  6. Meci Bon Dieu
(5:29)  7. In Martinique
(7:05)  8. One for Five

About eight or nine years ago, the major record labels finally realized that they could sell more copies of classic jazz CDs if they reissued them with the respect they deserved, including high-quality remastering and packaging. This has proved an unprecedented boon for the jazz fan; never have so many records by so many artists been readily available, even if the inventories are in cyberspace rather than in the attic of the corner shop. However, there is a cloud to this silver lining. There are simply so many old albums in the reissue queue that some artists, particularly those who were more prolific as sidemen than as leaders, are underrepresented. And not just in quantity sometimes whole stylistic forays are lost. A case in point is Charlie Rouse, the vastly underrated tenor man best known for his long tenure with Thelonious Monk in the late '50s and '60s. Thankfully, then, Blue Note has reissued Rouse’s 1962 Bossa Nova Bacchanal as part of its limited edition Connoisseur Series. I know, I know, “not another bossa nova cash-in album!” But keep an open mind; this is no crass marketing ploy. Bacchanal is actually a fine album, and apparently Rouse was very serious about making authentic bossa nova music, recruiting excellent Latin rhythm players alongside the dual guitar line of Kenny Burrell and Lord Westbrook (playing acoustic Spanish guitars). 

The selection of tunes is perfect, too, with really only one bossa warhorse (“Samba de Orfeu”), several refreshingly lesser-known gems (the breezy “Aconteceu,” the ominous “Meci Bon Dieu”), and a Rouse original for good measure. Rouse does nothing to soften his sharp-edged, sinusoidal tone but lacks nothing in melodic invention, and his acerbic lines provide a citric zing where this kind of music is often too sticky sweet. The dual-guitar team is a real treat, providing excellent solos (both Westbrook and Burrell have their chance to shine) and a constant stereophonic percolation in the background. A startling bonus track, however, threatens to steal the show, at least for Rouse fans "One For Five," a non-bossa original from a later, 1965 session with (get this) Freddie Hubbard, McCoy Tyner, Bob Cranshaw, and Billy Higgins. The tune is reminiscent of something that might have fit on Wayne Shorter’s contemporary Blue Notes, and it features a nice Rouse solo different from his Monk guise, as well as fleet work by Hubbard and Tyner. How the rest of this session could remain in the vaults is beyond imagining, and only goes to prove the point made above. So please, Blue Note, put out the rest, and soon but until then, thanks for the Brazilian appetizer. ~ Joshua Weiner https://www.allaboutjazz.com/bossa-nova-bacchanal-charlie-rouse-blue-note-records-review-by-joshua-weiner.php

Personnel: Charlie Rouse, tenor sax; Kenny Burrell and Chauncey "Lord" Westbrook, guitars; Larry Gales, bass; Willie Bobo, drums; Patato Valdes, conga; Garvin Masseaux, chekere. On "One For Five": Rouse; Freddie Hubbard, trumpet; McCoy Tyner, piano; Bob Cranshaw, bass; Billy Higgins, drums

Bossa Nova Bacchanal

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McCoy Tyner - Focal Point

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 40:45
Size: 101,6 MB
Art: Front

(7:57) 1. Mes trois fils
(6:57) 2. Parody
(5:36) 3. Indo-serenade
(9:00) 4. Mode for dulcimer
(5:59) 5. Departure
(5:14) 6. Theme for Nana

Although McCoy Tyner recorded with consistent excellence beyond his brilliant and definitive work with John Coltrane, the pianist's Milestone legacy (1972-81) cemented his individual place in the jazz pantheon. Focal Point is a 1976 Milestone date now reissued on OJC that enhances Tyner's then working trio of Charles Fambrough on bass and Eric Gravatt on drums with the commanding reeds of Gary Bartz, Joe Ford and Ron Bridgewater and Guilherme Franco's colorful, exotic percussion. Here, Tyner explores a neat half dozen of his exceptional originals and elicits some of his most powerful, energetic personal pianism. Stand outs include "Mes Trois Fils," the very Tyneresque "Mode for Dulcimer" (with Tyner on the eponymous instrument and Franco subtly working the tabla), the Tyner-Gravatt duet of "Parody" and the Tyner-Ford-Fambrough-Gravatt-Franco "Theme For Nana." A little overdubbing occurs, but the result is still a tight, simpatico septet that understands and thrives on Tyner's unique conceptions.~Douglas Payne https://www.allaboutjazz.com/focal-point-mccoy-tyner-fantasy-jazz-review-by-douglas-payne

Players: McCoy Tyner: piano, dulcimer; Gary Bartz: clarinet, sopranino, soprano sax, alto sax; Joe Ford: flutes, soprano sax, alto sax; Ron Bridgewater: soprano sax, tenor sax; Charles Fambrough: bass; Eric Kamau Gravatt: drums; Guilherme Franco: congas, percussion, tabla.

Focal Point

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Elvin Jones, Jimmy Garrison Sextet, McCoy Tyner - Illumination!

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 31:04
Size: 71,9 MB
Art: Front

(5:33) 1. Nuttin' Out Jones
(3:46) 2. Oriental Flower
(6:25) 3. Half And Half
(4:09) 4. Aborigines Dance In Scotland
(5:12) 5. Gettin' On Way
(5:57) 6. Just Us Blues

Until it was reissued in 1998, this was one of the more elusive Impulse sets of the 1960s. Recorded in 1963 and co-led by John Coltrane's drummer and bassist (Elvin Jones and Jimmy Garrison), the music is most significant for introducing Sonny Simmons (alto and English horn) and Prince Lasha (flute and clarinet), who are joined in the sextet by underrated baritonist Charles Davis and Trane's pianist McCoy Tyner.

Each of the musicians except Jones contributed an original (there are two by Davis); the music ranges from advanced hard bop to freer sounds that still swing. While Garrison's contributions are conventional (this was his only opportunity to lead or co-lead a date), Jones is quite powerful. However, it is the playing of both Simmons, who tears it apart on English horn during "Nuttin' Out Jones," and Lasha (when is he going to be rediscovered and recorded again?) that make this early "New Thing" date of greatest interest.~ Scott Yanow https://www.allmusic.com/album/illumination%21-mw0000033695

Personnel: Drums – Elvin Jones; Alto Saxophone, English Horn – Sonny Simmons; Baritone Saxophone – Charles Davis; Bass – Jimmy Garrison; Clarinet, Flute – Prince Lasha; Piano – McCoy Tyner

Illumination!

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McCoy Tyner - The Real McCoy (Remastered / Rudy Van Gelder Edition)

Styles: Piano Jazz 
Year: 1967
File: MP3@320K/s
Time: 37:09
Size: 85,6 MB
Art: Front

(8:47)  1. Passion Dance
(9:12)  2. Contemplation
(6:37)  3. Four By Five
(6:32)  4. Search For Peace
(6:00)  5. Blues On The Corner

It is to McCoy Tyner's great credit that his career after John Coltrane has been far from anti-climatic. Along with Bill Evans, Tyner has been the most influential pianist in jazz of the past 50 years, with his chord voicings being adopted and utilized by virtually every younger pianist. A powerful virtuoso and a true original (compare his playing in the early '60s with anyone else from the time), Tyner (like Thelonious Monk) has not altered his style all that much from his early days but he has continued to grow and become even stronger. Tyner grew up in Philadelphia, where Bud Powell and Richie Powell were neighbors. As a teenager he gigged locally and met John Coltrane. He made his recording debut with the Art Farmer-Benny Golson Jazztet, but after six months left the group to join Coltrane in what (with bassist Jimmy Garrison and drummer Elvin Jones) would become the classic quartet. Few other pianists of the period had both the power and the complementary open-minded style to inspire Coltrane, but Tyner was never overshadowed by the innovative saxophonist. During the Coltrane years (1960-1965), the pianist also led his own record dates for Impulse.

After leaving Coltrane, Tyner struggled for a period, working as a sideman (with Ike and Tina Turner, amazingly) and leading his own small groups; his recordings were consistently stimulating even during the lean years. After he signed with Milestone in 1972, Tyner began to finally be recognized as one of the greats, and he has never been short of work since. Although there have been occasional departures (such as a 1978 all-star quartet tour with Sonny Rollins and duo recordings with Stephane Grappelli), Tyner has mostly played with his own groups since the '70s, which have ranged from a quartet with Azar Lawrence and a big band to his trio. In the '80s and '90s, Tyner did the rounds of labels (his old homes Blue Note and Impulse! as well as Verve, Enja, and Milestone) before settling in with Telarc in the late '90s and releasing a fine series of albums including 2000's Jazz Roots: McCoy Tyner Honors Jazz Piano Legends of the 20th Century and 2004's Illuminations. In 2007, Tyner returned with the studio album McCoy Tyner Quartet featuring saxophonist Joe Lovano, bassist Christian McBride, and drummer Jeff "Tain" Watts. ~ Scott Yanow https://www.allmusic.com/artist/mccoy-tyner-mn0000868092/biography

Personnel: McCoy Tyner (piano); Joe Henderson (tenor saxophone); Ron Carter (bass); Elvin Jones (drums).

R.I.P.
Born: December 11, 1938, Philadelphia, Pennsylvania, United States

Died: March 6, 2020

The Real McCoy (Remastered / Rudy Van Gelder Edition)

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McCoy Tyner, Bobby Hutcherson - Manhattan Moods

Styles: Piano, Vibraphone Jazz
Year: 1994
File: MP3@320K/s
Time: 57:48
Size: 133,7 MB
Art: Front

(8:40)  1. Manhattan Moods
(7:57)  2. Blue Monk
(6:50)  3. Dearly Beloved
(3:58)  4. I Love You Porgy
(6:54)  5. Isn't This My Sound Around Me?
(6:00)  6. Soul Eyes
(4:49)  7. Travelin' Blues
(5:53)  8. Rosie
(6:42)  9. For Heaven's Sake

The pairing of pianist McCoy Tyner and vibraphonist Bobby Hutcherson had them teamed up with firebrands of modern jazz in the '60s, but some 20 years later they made this recording in duet performance with their minds focused on the mellow side. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. They play a mix of standards and originals with the genius inventiveness and spontaneous interplay you would expect, while also elongating beautiful melodies that will warm any cold or bitterly emotional situation. Where Tyner's single-minded witty and improvisational extrapolations are always a part of his musical persona, Hutcherson varies the sonic imprint, playing the noble wooden marimba on several tracks, lending a more earthy, organic feeling. 

There's magic in the air, or at the very least a common ground of shared values that makes this combination of two great musicians turn everything golden. A take on Thelonious Monk's "Blue Monk" is a shining example of how to make a well-worn standard all your own, as the pianist imbues a pure Kansas City blues flavor into the tune, and Hutcherson's marimba leads it carefully into new, woodsy territory. Mal Waldron's "Soul Eyes" is interpreted as faithfully and profoundly as the original, but with new voicings sans a rhythm section, taking the adoring melody into deeper fathoms. Tyner's signature chord accents during "Dearly Beloved" echo the splendid title as tacked onto Hutcherson's shimmering vibes, while the pianist's penchant for modal foundations is clearly exuded on his partner's relaxed marimba-coded original "Isn't This My Sound Around Me?" and the definitive, dependable Tyner staple "Travelin' Blues." "Manhattan Moods," penned by the pianist, is solemn as can be, considering that it is dedicated to the rat race borough of New York City, while Hutcherson's other composition on the date, "Rosie," is as pleasant a waltz as you will hear short of what Randy Weston might do. These groundbreaking musicians are not rotating the Earth or signaling any new directions with this effort. They are completely in touch with their own hearts and souls, as well as those of humankind in general, on this exquisite and gorgeously crafted set of pure unadulterated jazz. ~ Michael G.Nastos https://www.allmusic.com/album/manhattan-moods-mw0000118821

Personnel: McCoy Tyner: piano; Bobby Hutcherson: vibes, marimba

Manhattan Moods

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McCoy Tyner - Plays John Coltrane At The Village Vanguard

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 66:22
Size: 152,4 MB
Art: Front

(12:17)  1. Naima
( 7:07)  2. Moment's Notice
(12:27)  3. Crescent
( 3:43)  4. After The Rain
(12:18)  5. Afro Blue
(11:08)  6. I Want To Talk About You
( 7:20)  7. Mr. Day

First off, for those who might assume this record was some never-before released Tyner Impulse record from the 60s please calm down...it's actually a Tyner record of the recent era when he recorded for Impulse, evidently residue from the contract he was under before having moved onto Telarc. So-not the Tyner of such memorable records as Today and Tommorrow or Inception, not that classic 60s Impulse recorded sound, but...a good record nonetheless and one that has its own certain value both in the Tyner discography and in the realm of Trane tribute records. This live set from the Village Vanguard was recorded in 1997 on John Coltrane's 71st birthday (the fact we are now in the annum of his 75th birthday makes it all the more timely). Tyner is accompanied here by the excellent bassist, George Mraz, and the spunky rhthymic force of Al Foster on drums. Both players have been part of the McCoy Tyner trio in recent years as Tyner has branched out from having only longtime associates Avery Sharpe and Aaron Scott in his trio. Foster, in fact, was featured on a recent Telarc trio record along with the bassist Stanley Clarke. These trio mates serve McCoy Tyner well, indeed, better than Sharpe and Scott do but that's no major revelation; people have observed for years that Tyner's trio didn't exactly feature musicians on his same footing. In any event, what the gains are made are obvious in terms of musicianship. Mraz is inobtrusive and respectful of McCoy's own volume level, providing uncomplicated but solid basslines, while Al Foster is simply exemplary in the way that he will constantly stir up bluster but never overwhelm. 

Generally speaking then-these musicians stay out of Tyner's way and only do what is needed to accentuate his playing. There's a certain conservatism here, but Tyner's former trio, in contrast, often had the feeling of a rock act because the three musicians tended to move less as a unit, more as one soloist after another. The trio's program of tunes and compositions made famous by Trane is well-rounded but there's nothing faintly offbeat in terms of tune selection. "Mr Day," also know as "Ug 'Gainst the Wall" is the closest thing, as a rather southern-sounding blues penned by Trane. Nevertheless, the classic Trane repertoire is well-represented here with thoughtful, stately renditions of "Naima," "I Want to Talk About You," and "After the Rain." A case could be made that the set is too ballad-heavy, but then you realize one isn't in real position to argue with how Tyner wants to honor Trane, his old boss. "Crescent" and "Afro Blue" are the two cuts which feature the McCoy Tyner many think of-driving, banging fifths in the left hand, and sideways right-hand work that sounds at somewhere around Mach 5. That said, "Afro Blue" is probably the choice cut on the record; great Mraz solo, and dramatic build-ups here. "Mr Day" aka "Up Against the Wall"-is fine for its chordal dynamism-we see here clearly why McCoy's left hand is the envy of so many jazz pianists. Finally-"Moment's Notice" stands as the only track that seems somewhat insubstantial. Overall, this set is a good representative of late-period Tyner some feel that is a qualification in itself; however to longtime Tyner fans who still appreciate his work, or to those new to this dramatic style of jazz piano, this record should provide some decent listening. It's not essential as a Trane tribute record (as Impulse(Verve) has tried to market it)-though. There are much more important Trane tribute records out there, including several that McCoy has been involved with himself. ~ AAJ Staff https://www.allaboutjazz.com/plays-john-coltrane-at-the-village-vanguard-mccoy-tyner-universal-music-group-review-by-aaj-staff.php?width=1920

Personnel: McCoy Tyner-Piano. George Mraz-Bass. Al Foster-drums.

Plays John Coltrane At The Village Vanguard

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Curtis Fuller - Images of Curtis Fuller

Styles: Trombone Jazz
Year: 2013
File: MP3@320K/s
Time: 30:58
Size: 71,0 MB
Art: Front

(4:14)  1. Accident
(5:36)  2. Darryl's Minor
(7:08)  3. Be Back Ta-Reckla
(9:01)  4. Judyful
(4:58)  5. New Date

Curtis Fuller was born in Detroit, Michigan in 1934. He came to music late, playing the baritone horn in high school and switching to the trombone at age 16. Detroit, at the time, was the breeding ground for an astonishing pool of fresh, highly individual talent. Milt Jackson and Hank Jones had already gone to New York and made their names. But coming of age in Detroit in the early fifties were Fuller, Donald Byrd, Elvin and Thad Jones, Paul Chambers, Louis Hayes, Kenny Burrell, Barry Harris, Pepper Adams, Yusef Lateef, Sonny Red, Hugh Lawson, Doug Watkins, Tommy Flanagan and many others who would make the mid- decade migration to New York and eventually international recognition. In 1953, Curtis left the local scene to serve his two-year stint in the army, where he met and played with Cannonball Adderley and Junior Mance among others. When he returned home, he began working with Yusef Lateef's quintet. The Lateef quintet came to New York in April 1957 to record two albums for Savoy and a third produced by Dizzy Gillespie for Verve. Word of Curtis's talent spread rapidly around New York. Although he initially came under the spell of J.J. Johnson and listed Jimmy Cleveland, Bob Brookmeyer and Urbie Green among his favorites, Fuller came to New York at the age of 22 with a unique style and sound. In May, after being in town for about a month, he recorded with Paul Quinchette and made his first albums as a leader: two quintet albums for Prestige with Sonny Red featured on alto. Like the Blue Note debuts by Kenny Burrell and Thad Jones the prior year, he used mostly transplanted Detroit players. Blue Note's Alfred Lion had also heard about Fuller and went to see him at the Cafe bohemia with Miles Davis's sextet. Curtis joined the Blue Note family, appearing on a Clifford Jordan date on June 2 and making his own, The Opener, with Hank Mobley, on June 16. That summer Curtis was everywhere. “Alfred brought me into dates with Jimmy Smith and Bud Powell. And then we did Blue Train with John Coltrane. And I became the only trombone soloist to record with those three artists.” 

So after eight months in New York, Curtis Fuller had made six albums as a leader and appeared on 15 others. Even in those prolific times, that's pretty impressive for a newly-arrived trombonist. At the end of '58, Benny Golson asked Curtis to share the front line for a Riverside blowing date entitled “The Other Side Of Benny Golson,” which put the emphasis on Benny's tenor playing rather than his composing and arranging. The chemistry between these two hornmen clicked, and they would record an album under Curtis's name for Savoy [Blues-ette] and three under Benny's name for Prestige in 1959 with various rhythm sections. They also made two Fuller albums for Savoy with trumpet added to the front line, which laid the groundwork for the creation of the Jazztet. In February 1960, the Jazztet, a sextet under the leadership of Benny Golson and Art Farmer, made their first album. Curtis Fuller was the trombonist and McCoy Tyner made his recording debut as the pianist. The Jazztet became a very successful unit from the start, but Fuller and Tyner left a few months into the life of the band. They were headed in other directions. In the summer of '61, Curtis made Art Blakey's Jazz Messengers a sextet for the first time. The combined writing and playing talents of Fuller, Freddie Hubbard, Wayne Shorter and Cedar Walton, driven by Blakey and Jymie Meritt (later Reggie Workman), created one of the most exciting and distinctive bands in the history of hard bop. Curtis stayed with the Jazz Messengers until February 1965. He spent the rest of that decade freelancing around New York, adding his beautiful sound to a number of Blue Note dates such as Lee Morgan's Tom Cat, Hank Mobley's A Caddy For Daddy, Joe Henderson's Mode For Joe and Wayne Shorter's Schizophrenia. After some health problems, Curtis is active again. What is as remarkable about Curtis Fuller as his lyrical improvising and ingenious writing, is his personality. On the road, on stage, or in the studio, Curtis is a relaxed professional who lifts every situation with his inredible sense of humor and his natural sparkle. https://musicians.allaboutjazz.com/curtisfuller

Personnel:  Trombone – Curtis Fuller; Bass – Jimmy Garrison (tracks: 1, 5), Milt Hinton (tracks: 2 to 4;  Drums – Bobby Donaldson (tracks: 2 to 4), Clifford Jarvis (tracks: 1, 5); Piano – McCoy Tyner; Tenor Saxophone, Flute – Yusef Lateef;  Trumpet – Lee Morgan (tracks: 2 to 4), Wilbur Harden (tracks: 1, 5)

Images of Curtis Fuller

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Hank Mobley - A Caddy For Daddy

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 39:53
Size: 91,9 MB
Art: Front

(9:24)  1. A Caddy For Daddy
(9:45)  2. The Morning After
(7:13)  3. Venus Di Mildew
(7:15)  4. Ace Deuce Trey
(6:14)  5. Third Time Around

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended. ~ Scott Yanow https://www.allmusic.com/album/a-caddy-for-daddy-mw0000690250

Personnel:  Hank Mobley — tenor saxophone; Curtis Fuller — trombone; Lee Morgan — trumpet; McCoy Tyner — piano; Bob Cranshaw — bass; Billy Higgins — drums

A Caddy For Daddy

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McCoy Tyner - Atlantis

Styles: Piano Jazz
Year: 1974
File: MP3@320K/s
Time: 71:45
Size: 165,0 MB
Art: Front

(17:56)  1. Atlantis
( 5:34)  2. In A Sentimental Mood
(13:02)  3. Makin' Out
( 9:56)  4. My One And Only Love
( 9:18)  5. Pursuit
(15:56)  6. Love Samba

This is the single-CD reissue of all of the music from a former two-LP set. Pianist McCoy Tyner's 1974 quintet consisted of the talented youngster Azar Lawrence on tenor and soprano, bassist Joony Booth, drummer Wilby Fletcher and percussionist Guilherme Franco. As is accurately stated in the new liner notes by Neil Tesser, Atlantis was the final recording from Tyner's last band to be based on the music of his former boss, John Coltrane. While Lawrence (who was only 20 at the time) derived his style partly from aspects of Coltrane and the rhythm section is fiery, Tyner creates some very powerful and highly original solos, really tearing into some of the more extended pieces. Recorded live at San Francisco's legendary Keystone Korner, this set has four of Tyner's modal originals played by the full group, a rendition of "My One and Only Love" performed by the leader, Lawrence and Franco as a trio, and a solo piano version of "In a Sentimental Mood." Essential music that still sounds fresh and adventurous. ~ Scott Yanow https://www.allmusic.com/album/atlantis-mw0000263803

Personnel:  McCoy Tyner: piano, percussion; Azar Lawrence: tenor saxophone, soprano saxophone; Joony Booth: bass; Wilby Fletcher: drums; Guilherme Franco: percussion

Atlantis

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McCoy Tyner - Beautiful Love

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 60:07
Size: 139,4 MB
Art: Front

(3:44)  1. Beautiful Love
(5:32)  2. Suddenly
(3:56)  3. Giant Steps
(6:11)  4. Darn That Dream
(3:48)  5. Rhythm-A-Ning
(4:50)  6. You Taught My Heart to Sing
(5:09)  7. Bluesin' with Bob
(6:17)  8. Monk's Dream
(4:26)  9. Naima
(7:08) 10. Miss Bea
(4:39) 11. Rio
(4:23) 12. Lady from Caracas

McCoy Tyner is in top form in this solo concert recorded at the 1991 Warsaw Jazz Festival, playing with added energy throughout the set. Although he does play two John Coltrane compositions (a runaway "Giant Steps" and lush "Naima") and a pair of Thelonious Monk's songs (a romp through "Rhythm-A-Ning" and a jaunty "Monk's Dream"), plus moving interpretations of two standards ("Beautiful Love" and "Darn That Dream"), the focus is primarily on his own works. Although Tyner isn't as well-known a composer as his late boss, he has composed many memorable songs, especially the touching ballad "You Taught My Heart to Sing" (which Sammy Cahn contributed lyrics to, making it popular with a number of jazz vocalists). 

Other highlights include the buoyant "Miss Bea" (a tribute to Tyner's mother), the exotic "Lady from Caracas," and the dazzling "Suddenly." This is one of the lesser-known CDs in McCoy Tyner's discography, though it has been reissued numerous times by different labels under various titles. ~ Ken Dryden https://www.allmusic.com/album/immortal-concerts-beautiful-love-mw0000607160

Beautiful Love

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McCoy Tyner - McCoy Tyner And The Latin All-Stars

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 61:52
Size: 143,3 MB
Art: Front

(11:02)  1. Festival In Bahia
( 6:59)  2. Poinciana
(12:23)  3. Afro Blue
(10:34)  4. A Song For Love
( 8:36)  5. La Habana Sol
( 5:24)  6. We Are Our Father's Sons
( 6:51)  7. Blue Bossa

McCoy Tyner's percussive piano style has always worked well within an Afro-Cuban groove, and this recording provides an excellent setting for him and his all-star lineup to work in. Mixing genre classics like "Afro Blue" and "Poinciana" with original material, Tyner's first release for the Telarc label provides a completely satisfying, highly rhythmic experience. Regular bassist Avery Sharpe combines with a three-man percussion section to propel the group's extended explorations. Besides the leader's instantly recognizable pianistic flurries and fat, two-handed chords, the front-line foursome of flute whiz Dave Valentin, saxophonist Gary Bartz, trumpeter Claudio Roditi and bone-and-shell man Steve Turre is superb, both in ensemble passages and individual solo spots. In the course of his long career, McCoy Tyner has recorded in nearly every conceivable setting. Though many of his solo, trio and quartet dates are superb, his expansive style has often been most enjoyably showcased in the company of multiple horns. From the rollicking opener "Festival in Bahia," to the beautiful "A Song for Love," to the straightforward timbale-driven Latin groove of "We Are Our Father's Sons," McCoy Tyner & the Latin All-Stars makes a potent case for inclusion in the upper tier of Tyner's catalog. ~ Jim Newsom https://www.allmusic.com/album/mccoy-tyner-the-latin-all-stars-mw0000235460

Personnel: McCoy Tyner: piano;  Gary Bartz: saxophones; Claudio Roditi: trumpet, flugelhorn; Steve Turre: trombone; Dave Valentin: flute; Avery Sharpe: bass; Ignacio Berroa: drums;  Johnny Almendra: timbales;  Giovanni Hidalgo: percussion

McCoy Tyner And The Latin All-Stars

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McCoy Tyner - With Stanley Clarke and Al Foster

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 64:55
Size: 152,1 MB
Art: Front

(9:10)  1. Trane-Like
(5:28)  2. Once Upon A Time
(4:16)  3. Never Let Me Go
(5:15)  4. I Want To Tell You Bout That
(6:43)  5. Will You Still Be Mine
(6:28)  6. Goin' Way Blues
(7:35)  7. In The Tradition
(4:49)  8. The Night Has A Thousand Eyes
(5:37)  9. Carriba
(3:31) 10. Memories
(5:56) 11. I Want To Tell You Bout That

The piano trio performs standards at one end of the small dining room while you and your companion sip champagne at a nearby table. It’s a cool jazz session from an acoustic trio. Certainly relaxed and enjoyable, this evening wears a graceful posture but refuses to serve you subtle fire or strong emotion. It’s a far cry from John Coltrane’s classic quartet of the early ‘60s. This cool acoustic trio carries over the percussive keyboard style of McCoy Tyner, but delivers without hammerin’ the message home and without including excessively improvised spates from any of the three veterans. Tyner prefers to stay with the melody for the most part and lets loose on occasion. Bassist Stanley Clarke opts for the acoustic stand-up instrument on this session, accompanying lyrically and issuing rapid-fire runs during solo spots. Drummer Al Foster offers a plain and simple (tasteful) accompaniment, and shows a variety of textures when trading fours. Standards "Never Let Me Go" and "The Night Has a Thousand Eyes" appear as pleasant as you’ve heard them a thousand times. Keeping good taste at the forefront, Tyner improvises only slightly as the chords change in familiar fashion, never losing sight of the melody. Clarke and Foster take their turns at the solo mic’ without ever breaking a sweat. Elsewhere, "Going ‘way Blues" sashays to a relaxed toe-tapping groove and two versions of "I Want to Tell You ‘bout That" compare Clarke’s acoustic bass principles to his electric bass virtuosity. While the timbre remains different, both takes use the common denominator found in the blues and jazz. The trio ensures that spontaneity, syncopation, and familiar rhythms make the blues tunes more exciting than middle-of-the-road standards. Since McCoy Tyner has chosen to present us with both aspects, we are welcome to sit back in our comfortable night club seats, enjoy a little more champagne, and appreciate both sides.~ Jim Santella https://www.allaboutjazz.com/mccoy-tyner-with-stanley-clarke-and-al-foster-mccoy-tyner-telarc-records-review-by-jim-santella.php?width=1920

Personnel:  McCoy Tyner- piano;  Stanley Clarke- bass;  Al Foster- drums.

With Stanley Clarke and Al Foster

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