Word: tyner
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Dates: during 1990-1999
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...haven't burnished strings' reputation. But with the music's more ambitious players looking for ways to broaden jazz's sonic palette after a decade dominated by neotraditionalism, strings are back (the hipster vogue for lounge music probably hasn't hurt). The boomlet began with last year's McCoy Tyner recording of Burt Bacharach tunes--an appropriate enough context--and continues with new albums by Wynton Marsalis and the 29-year-old Puerto Rican-born tenor saxophonist David Sanchez, both on Columbia. Marsalis' record, The Midnight Blues: Standard Time Vol. 5, is his first standards album since 1991 (despite...
...virtuosity, and his technical facility is very evident throughout his performance. With his cascading solo lines and fluid, rapid-fire outbursts of notes, he seems extroverted almost to the point of brashness. His linear, lyrical sensibility and use of stylistic devices like tremolo octaves are very reminiscent of McCoy Tyner. But Rubalcaba's lines are even longer, and his touch more commanding, than that of John Coltrane's former pianist. Rubalcaba's improvisations are heavily patterned and rhythmically defined; even when adding dissonances or rubato to his playing, it sounds quite calculated and logical...
...Village Vanguard" falls roughly at the midpoint of Coltrane's career, both chronologically and stylistically. He had just changed recording labels and had only recently settled on a brilliant rhythm section featuring pianist McCoy Tyner and drummer Elvin Jones. Coltrane's style and musical conception never stopped changing throughout his career, and these recordings reflect a serious departure from the structures and techniques of mainstream jazz of the time. Complex, static song structures were inhibiting what Coltrane wanted to do musically and he began looking towards Eastern ethnic music for influence. Coltrane began to experiment with instrumentation to dramatic effect...
...demonstrate Coltrane's skills as a jazz interpreter of any musical style. "Greensleeves," with its waltz meter and harmonic simplification, is very reminiscent of Coltrane's previous recording of "My Favorite Things." "Softly" is the most accessible recording of this collection-a light, bouncy, catchy performance that is perhaps Tyner's best opportunity to showcase his fleet, lyrical soloing...
Unlike Gershwin, Bacharach, perhaps because he worked in pop-rock and pop-soul idioms, has not been taken seriously by devotees of the Great American Songbook. But Tyner's album, along with another new CD (Great Jewish Music: Burt Bacharach) produced by avant-garde composer and klezmer enthusiast John Zorn and featuring a number of musicians with jazz leanings from New York's Downtown school, makes the case that Bacharach's melodies are worthy of being standards. Tyner says he's "shocked" that more jazz musicians haven't taken them...