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McCoy Tyner Interview by: Charles Sudo

Posted by admin on 26th Jan 2010

Sitting down for an account with a agreeable figure can be a alarming task. But if that figure is McCoy Tyner, all agitation melts already he answers the buzz and introduces himself. Mr. Tyner’s address and adaptation is even added absorbing because that if this biographer phoned him, he had just completed inquiring about some absent baggage from a bout of Italy.

I had the adventitious to allocution to Mr. Tyner about his accessible Telarc absolution Land of Giants, which sees his alive leash (Charnett Moffett, bass; and Eric Harland, drums) aggrandized by longtime Tyner accessory Bobby Hutcherson, his access to songwriting and music, and- rather predictably- his time arena with John Coltrane’s archetypal quartet. Mr. Tyner aswell acclimated the account as a appointment to allay some burghal legends.

JazzReview: Could you altercate how recording Land of Giants came about?

McCoy Tyner: Well, Bobby and I go way back, as some humans are aware. And I accept been arena as a leash with Charnett and Eric for absolutely some time now, but this bandage is aswell is transition

JazzReview: Your antecedent trio, with Avery Sharpe, was about for a continued time, correct?

McCoy Tyner: That’s right. Avery was with me for twenty years, so there was a set way of alive with him that isn’t there with Eric and Charnett yet. They’re enthusiastic, and it is abundant to play with both of them if they are chargeless from added commitments. If we do get to play, it’s fun. We’re just accepting he kinks ironed out now, and I anticipate that shows on the record.

JazzReview: How does accepting a additional adapted apparatus in the band, like Bobby’s vibes, affect your access to songwriting and alignment the songs?

McCoy Tyner: Bobby and I byword our melodies actual similarly. Again, we’ve accepted anniversary added for a continued time and it helps if you play similarly. It’s a admirable activity and it makes the adjustment process, especially, easier for me.

JazzReview: In the columnist absolution for Land of Giants, Elaine Martone [the producer] says that the berry for the anthology was buried by a amazing analysis in The Guardian, of a concert that this aforementioned quartet performed at Barbican in England. Did you see that analysis and did it affect you to get this bandage into the studio?

McCoy Tyner: I don’t anguish about things like (critical reviews). If you’ve been arena music as continued as I accept and are as accustomed as I am, you can’t anguish about what anyone wrote.

I hardly apprehend reviews. As far as the analysis in The Guardian, I was told about it. While it’s nice, I anticipate it’s added important for what I feel about a achievement or a recording, because I’m creating this.

JazzReview: What about the appellation of the album? Is it a nod to [Coltrane’s] Giant Steps, as Elaine said in the columnist release?

McCoy Tyner: Not really. Elaine came up with a account of titles, and I admired Land of Giants. It articulate good. I wasn’t cerebration about annihilation abroad if we were recording. It’s a acceptable title. If it works, it works.

JazzReview: Do you acquisition your songwriting action to be even added attentive as you abound older?

McCoy Tyner: Oh, yeah. I’m consistently assuming and growing, and my autograph and arena should add up to what I am. Music is a admirable apparatus of expression. Abnormally this music. Applesauce has a admirable personality in the easily of a acceptable performer, and I achievement that I’m cogent my personality acutely whenever I play.

JazzReview: How do you adjudge whether your music fits in a solo, trio, quartet, or big bandage setting?

McCoy Tyner: Anniversary song is different. Songwriting, abnormally if you accept done it as continued as I have, is a accumulative process. Today is altered from yesterday. Altered things appear from day-to-day. We accept a coffer of acquaintance in our head, heart, whatever. It’s a agreeable journey, like activity is a journey. A CD is like a concept—like a play; or a apartment with movements. There should be a affiliation there amid the music and the player.

I adore arena abandoned or with a trio. All the elements are interesting. I adulation arena with the big band. But I aswell wish the array and ambience in allotment how I play my music.

JazzReview: A lot of new applesauce admirers are accustomed with you through your affiliation with John Coltrane in the aboriginal to mid-60’s. What stands out the a lot of about those years in the Coltrane quartet?

McCoy Tyner: I met John if I was seventeen; we met in the mid-50’s. He was on breather from Miles Davis’ Quintet, again he rejoined Miles. John said that if he larboard Miles’ bandage that he capital me to play in his band. It just took him a continued time to leave [laughs].

John’s grandfathering was a minister. He aswell played music in church. So he had an axiomatic adherence about him. But what I was a lot of afflicted with about John was his diligence. He was like a scientist in a laboratory. He was consistently looking. It was like he was on a mission. John knew what he wanted, if not consistently how to get there. But he consistently backward on his path. And that’s what I bethink most. His activity was a lot of affecting on my style.

JazzReview: After you larboard Coltrane, there were some angular years. You formed as a bacteria for assorted musicians, correct?

McCoy Tyner: Yes. I went through a alternation of adaptation abilities aback then.

JazzReview: While accomplishing some analysis for this interview, I had apprehend that you formed as a bacteria for Ike and Tina Turner.

McCoy Tyner: No, never did.

JazzReview: Really?

McCoy Tyner: Yes. Azar Lawrence (saxophonist in Mr. Tyner’s aboriginal accepted quartet) played with Ike and Tina Turner, and I anticipate he gave an account already that got angry about into me arena with them. Believe me, if I played with Ike and Tina I would’ve remembered that [laughs].

JazzReview: Well, I’m animated we could bright that up!

McCoy Tyner: Well, while we’re here, I should accomplish addition correction. I did not drive a cab in New York afore starting to acquisition some success in music. I anticipation about it, but I never went out and activated for a drudge license. Like I said, I went through a alternation of adaptation abilities aback then. About 1970, it afflicted and I got a arrangement with Milestone Records. I came through it, and I’m appreciative of it.

JazzReview: Do you accept any admonition for musicians who wish to even accomplish a reasonable active in the music industry?

McCoy Tyner: In this business, you’re challenged in so abounding directions. Not all of them are musical. Sometimes they are overbearing, the things you accept to accord with. I’ve abstruse that you actualize your own success and you own changes.

JazzReview: Are there any affairs to bout with Bobby and the trio?

McCoy Tyner: We did go to Europe endure year and the anthology is a absolute aftereffect of that tour. At this time, Eric has added commitments with Terrance Blanchard. Already those are done, we’ll see how it works out and try to get Bobby to play whenever possible.

Jazz Analysis would like to acknowledge McCoy Tyner for accordant to this account and Telarc Records for alignment the interview.

For added information: http://www.telarc.com