1. Trane-like
2. Once Upon a Time
3. Never Let Me Go
4. I Want to Tell You 'Bout That
5. Will You Still Be Mine
6. Goin' Way Blues
7. In the Tradition Of
8. The Night Has a Thousand Eyes
9. Carriba
10. Memories
11. I Want to Tell You 'Bout That (Acoustic
version - alternate take)
McCoy Tyner (piano)
Stanley Clarke (acoustic and electric bass)
Al Foster (drums)
It's a sad fact that many
of the jazz world's most inspired musicians
begin to take their talents for granted and
let their standards slip. Whether by covering
pop songs to make few extra quid, or by delving
so deep into drink and drugs that productivity
slows to a halt, jazz has seen its fair share
of geniuses fading into nothingness.
It's refreshing, then, to
hear McCoy Tyner sound as great as he ever
did. Still widely seen as a cutting edge performer,
his recent years have been crammed full of
diverse and original projects - adding his
touch to Burt Bacharach tunes, exploring the
world of Latin music, reinventing popular
standards and a good deal more besides. And,
despite the hordes of exciting new bands at
this year's London Jazz Festival, it's Tyner's
appearance that's being hailed as the highlight
of the entire show.
After listening to this
wonderful album, this doesn't surprise me
at all. Tyner meets all the criteria of a
first class jazz pianist: he's complex, but
also accessible; emotional, but often understated;
and virtuosic, whilst keeping sight of the
overall mood of the music. The opening track,
Trane-Like, transports us back to his work
with Coltrane in the early to mid 1960s, and
reminds us what he brought to those massively
influential works. Mixing hypnotic chordal
statements, reminiscent of A Love Supreme,
with the kind of direct, staccato melodies
found on Giant Steps, the tune provides a
great introduction as a microcosm of this
early period.
But Tyner is far from being
stuck in the past; the sheer scope and depth
of this work is, in itself, an outstanding
achievement. From the beautiful ballad, Never
Let Me Go, to the well-known standard, Will
You Still Me Mine, to the funky groove of
I Want to Tell You 'Bout That, Tyner sounds
completely at ease adapting to various musical
directions. One of most absorbing tracks on
this wide-ranging work, in fact, is inspired
not by the traditions of jazz but by those
of Brazilian dance music. With its catchy
melody and playful rhythms, Caribba brings
outs the core of Tyner's talents - the ability
to build to a strong melodic base, before
launching off into blistering solos, rich
in harmonic complexities.
In a trio, of course, one
can't rely on a single musician to make it
work; collective brilliance is necessary under
such a tight focus.
Thankfully, Tyner is not
let down by acclaimed virtuosos, Stanley Clarke
and Al Foster. Clarke's rich, resonant bass
is the driving force behind much of the work,
whether in the form of groovy slap-bass or
a more traditional 'walking' approach. His
solos, likewise, are reason enough to get
hold of this album as soon as possible. Technically
assured, emotionally deep and performed with
such outstanding delicacy, it is instantly
clear that Clarke possesses a rare and genuine
talent.
As, of course, does Foster,
who, throughout each style, demonstrates an
astonishing sensitivity. Holding back when
necessary, he lets the others take centre
stage; but when tension builds and the music
demands it, he's prepared to break out to
into powerful performances.
I've always felt that trios
are the true test of the jazz musician. Get
them wrong and the music sounds bland, sparse
and uninspired. Get them right and there's
nothing more elegant, stylish and all-round
impressive.
In case it isn't already
clear, Tyner's got it right.
Robert Gibson
CD Reviews
Telarc Jazz CD-83488
