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| music for body and soul |______________________|| |
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|| release infos |
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| + artist ........... mccoy tyner |
| + album ............ time for tyner |
| + label ............ Blue Note |
| + cat .............. 63839 |
| + year ............. 2005 |
| + genre ............ jazz |
| + source ........... cdda |
| + quality .......... VBRkbps / 44,1Khz / joint-stereo |
| + release date ..... 06.10.2005 |
| + size ............. 60,8 MB |
| + link ............. www.bluenote.com/detail.asp?SelectionID=10448 |
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|| tracklist |
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| |
| 01.african village 12:09 |
| 02.little madimba 08:32 |
| 03.may street 05:20 |
| 04.i didn't know what time it was 07:10 |
| 05.the surrey with the fringe on top 05:11 |
| 06.i've grown accustomed to her face 04:26 |
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| (t!) total 42:48 min |
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|| release notes |
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| |
| McCoy Tyner - piano |
| Bobby Hutcherson - vibes |
| Herbie Lewis - bass |
| Freddie Waits - drums |
| |
| |
| With the release of the latest batch of Rudy Van Gelder Blue Note |
| reissues comes the opportunity to hear vibraphonist Bobby |
| Hutcherson on two sessions that demonstrate just how flexible he |
| isùsomething that continues to define him to this day on projects |
| like the recently-released SFJazz Collective. But unlike SFJazz, |
| which is a true cooperative ensemble, weÆre talking about |
| Hutcherson the sideman on the Æ64 date that would become pianist |
| Andrew HillÆs Judgement, and here, on pianist McCoy TynerÆs Æ68 |
| session Time for Tyner. |
| |
| Both sessions are quartet dates featuring vibes, piano, bass, and |
| drumsùin this case the rhythm section consists of bassist Herbie |
| Lewis and drummer Freddie Waits. Waits comes to mind these days |
| more as the father of drummer Nasheet Waits, but he was an equally |
| versatile player who appeared on numerous sessions for Tyner, |
| Hubert Laws, Hill, and others before his untimely passing in Æ89 |
| at the age of 46. The teaming of two chordal instruments raises |
| the possibility of some toe-stepping, but Hutcherson, unlike Gary |
| Burton who emerged around the same time, was always a more linear |
| player. And so while this is texturally lighter than dates |
| featuring a horn in the front line, Hutcherson plays a similar |
| role. |
| |
| Time for Tyner is situated between two Æ67 releases, the quartet |
| classic The Real McCoy and octet Tender Moments, and the |
| less-reputed but equally significant Expansionsùrecorded a scant |
| three months later with the same rhythm section, but featuring a |
| three-horn front line and Ron Carter on cello. It distinguishes |
| itself as the only session from that two-year period which is not |
| weighted heavily towards Tyner originals. |
| |
| TynerÆs three originals here are characteristic of his writing at |
| the time, logical expansions on the modal approach he honed in his |
| years with John Coltrane. They are equally indicative of why he |
| ultimately left the saxophonist in Æ65, with ColtraneÆs shift |
| towards completely unstructured form becoming too extreme for |
| TynerÆs more down-the-middle disposition. Still, while songs like |
| the three-over-four polyrhythmic ôAfrican Villageö and the more |
| rhythmically straightforward ôLittle Madimbaö may not feel |
| particularly innovative forty years later, with Tyner ultimately |
| becoming one of the most influential pianists to emerge in the |
| last half-century, theyÆre certainly still compelling enough, as |
| is the uptempo swing of ôMay Street.ö |
| |
| More telling is his take on three standards. Tyner adds a |
| whole-tone vamp to break up the more familiar refrains of ôI |
| DidnÆt Know What Time It Was,ö while ôThe Surrey With the Fringe |
| on Top,ö pared down to a trio, is taken at an uncharacteristically |
| fast tempo with a middle section that returns to modal terrain. |
| The album closes with an open-ended solo rendition of ôIÆve Grown |
| Accustomed to Her Faceö that demonstrates just how liberal Tyner |
| could be within a mainstream context. |
| |
| While the ensuing years have proven Time for Tyner to be more of a |
| way station than a push forward, it's still fully deserving of the |
| Van Gelder remaster treatment. It's also proof that TynerÆs |
| ability to reinvent standards was certainly on par with his own |
| compositional acumen. |
| -----------------------------------> John Kelman @allaboutjazz.com |
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|| group notes |
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| mbs is a free music's lovers association on the net. |
| we only share the music we love, with the people we like. |
| Keep your mind, your body and your soul open... peace ... |
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