McCoy Tyner

A Love Supreme

John Coltrane · 1965

The Real McCoy

McCoy Tyner · 1967

The four years of the Coltrane Classic Quartet (1961–65) represent one of the most concentrated periods of creation in jazz history. ElvinElvin Jonesエルヴィン・ジョーンズ's polyrhythm and McCoyMcCoy Tynerマッコイ・タイナー's wide-voicing left hand gave Coltrane something to push against.

Speak No Evil

Wayne Shorter · 1966

Night Dreamer

Wayne Shorter · 1964

The 1964–66 Blue Note period was when Wayne ShorterWayne Shorterウェイン・ショーター's compositional voice matured rapidly. On Night DreamerNight DreamerWayne Shorter · 1964 and Speak No EvilSpeak No EvilWayne Shorter · 1966 he established his signature 'mysterious beauty' language. Lee MorganLee Morganリー・モーガン, McCoy TynerMcCoy Tynerマッコイ・タイナー, and Elvin JonesElvin Jonesエルヴィン・ジョーンズ brought it to life.

Page One

Joe Henderson · 1963

Page OnePage OneJoe Henderson · 1963 (1963) was HendersonJoe Hendersonジョー・ヘンダーソン's Blue Note debut. The album introduced 'Recorda Me' and 'Blue Bossa,' two tunes that quickly became standards and thrust Henderson to the center of the scene. McCoy Tyner was simultaneously deep in his Coltrane years.

A Love Supreme

John Coltrane · 1965

July 26, 1965, Antibes, France. The only known live performance of 'A Love SupremeA Love SupremeJohn Coltrane · 1965' in its entirety. Officially archived by INA (the French national audiovisual institute). The classic quartet at its most ferocious, near the end of the era.

— Coltrane — A Love Supreme, Antibes 1965, 1965

In November 1961, John ColtraneJohn Coltraneジョン・コルトレーン recorded a two-week residency at the Village Vanguard with an expanded group including Eric Dolphy and Reggie WorkmanReggie Workmanレジー・ワークマン, stretching out on "Chasin' the Trane." DownBeat called it "anti-jazz" — and it opened the door to free jazz.

— John Coltrane: His Life and Music, Lewis Porter, 1998

A Love Supreme

John Coltrane · 1965

August 1965, Comblain-la-Tour, Belgium. RTBF's color broadcast — a rare and valuable color film of the classic quartet, captured just days after the Antibes 'A Love SupremeA Love SupremeJohn Coltrane · 1965' performance, with the band still riding that intensity.

— Coltrane — Comblain-la-Tour 1965, 1965

JuJu

Wayne Shorter · 1965

JuJuJuJuWayne Shorter · 1965 (1964) borrowed John ColtraneJohn Coltraneジョン・コルトレーン's golden quartet rhythm section (McCoy TynerMcCoy Tynerマッコイ・タイナー, Elvin JonesElvin Jonesエルヴィン・ジョーンズ, Reggie WorkmanReggie Workmanレジー・ワークマン) for Wayne ShorterWayne Shorterウェイン・ショーター. Absorbing Coltrane's gravity, Shorter's distinct compositional voice emerged decisively.

— Footprints: The Life and Work of Wayne Shorter, Michelle Mercer, 2004

A Love Supreme

John Coltrane · 1965

McCoy TynerMcCoy Tynerマッコイ・タイナー anchored John ColtraneJohn Coltraneジョン・コルトレーン's classic quartet from 1960 to 1965. His left-hand quartal voicings and right-hand pentatonic flurries provided the harmonic foundation of A Love SupremeA Love SupremeJohn Coltrane · 1965.

— John Coltrane: His Life and Music, Lewis Porter, 1998

In late 1965 McCoy TynerMcCoy Tynerマッコイ・タイナー left John ColtraneJohn Coltraneジョン・コルトレーン, unable to follow the leader's increasingly free direction. He said he 'couldn't hear what I was playing anymore,' and went on to establish his own leader career on Impulse and Milestone.

— The House That Trane Built: The Story of Impulse Records, Ashley Kahn, 2006

On 1997's Songbook, Kenny GarrettKenny Garrettケニー・ギャレット established himself as a composer carrying on the McCoy TynerMcCoy Tynerマッコイ・タイナー legacy — his most important post-Miles album, completing his own modal direction.

— Kenny Garrett: Songbook, JazzTimes, 1997