McCoy Tyner 2005-06-03
Palace of Fine Arts, San Francisco, CA
Set 1
(Late Show)
Crescent
Wise One
Bessie's Blues
Lonnie's Lament
The Drum Thing
Naima
Greeting
Encore:
Inner Glimpse (Enlightenment Suite Part 3)
Crescent
Wise One
Bessie's Blues
Lonnie's Lament
The Drum Thing
Naima
Greeting
Encore:
Inner Glimpse (Enlightenment Suite Part 3)
Set 2
Set 3
Comment
McCoy Tyner, Joshua Redman, Brian Blade, and Reginald Veal
The Coltrane Project: Crescent
San Francisco Jazz Spring Season
McCoy Tyner - piano
Joshua Redman - sax
Brian Blade - drums
Reginald Veal - bass
From http://www.sfjazz.org
"The Coltrane Project: Crescent"
"One of the living mainlines of jazz [and] the definer of modern jazz harmony," pianist McCoy Tyner "is the course that developing players must pass."
" The New York Times
A pillar of the "classic" John Coltrane Quartet of the 1960s, McCoy Tyner recreates the magic of one of Coltrane's most beautiful, introspective and wistful recordings, Crescent. In 1964, Tyner joined Coltrane, bassist Jimmy Garrison, and drummer Elvin Jones for Coltrane's first album of completely original work since his days with Atlantic Records in the late 50s and early 60s. With "moments of contemplation, relative serenity and perhaps resolution [in] the remarkable progression of pieces," commented noted critic Martin Williams, "Coltrane's Crescent is a remarkable achievement of lyrical poeticism and distinctive unity of mood." Three of the timeless compositions, in fact, are built on the lyrical flow of Coltrane's own poems " "Wise One," written for longtime companion and wife Naima, whose spiritual support helped him overcome his self-destructive patterns; "Lonnie's Lament," and the lilting, sensitive interplay of sax and percussion on "The Drum Thing." "After years of musical searching " of tireless, cyclonic energy," notes esteemed author Ashley Kahn, "Coltrane seemed to have found a stylistic resting point. The underlying intensity is in no way diminished, but there was a notable lack of explicit struggle in the sound."
"One of the living mainlines of jazz [and] the definer of modern jazz harmony," pianist McCoy Tyner "is the course that developing players must pass," writes The New York Times. As a teenager in the burgeoning Philadelphia jazz scene, Tyner earned the nickname "Bud Monk" for his style that initially drew on the daring bebop of pianist Bud Powell and the idiosyncratic innovations of Thelonius Monk. After honing his incomparable style with Art Farmer and Benny Golson's Jazztet in the late 1950s, Tyner joined Coltrane immediately. Coltrane said, "Our ideas meet and blend. Working with McCoy is like wearing a nice fitting glove." The two shared more than their legendary musical bond " both were intensely focused and dedicated spiritualists. "He was like a big brother to me," Tyner said of Coltrane. "Playing with John really gave me a chance to develop my style into what it became."
That style " a powerful percussive attack with intrepid, emblematic chords and sparkling melodic acuity " became not only a definitive landmark of jazz in Coltrane's quartet, but a style that would influence the course of jazz over the next half-century. Tyner has long since made jazz history in his own right, boasting legendary recordings in the 1960s like The Real McCoy and Expansions, as well as Down Beat 's Album of the Year in 1972, Sahara. Tyner's deep-rooted respect for his longtime companion is evidenced on 1988's Grammy-winning Blues for Coltrane with former Trane collaborators Pharoah Sanders and Roy Haynes, and 2003's Grammy-nominated McCoy Tyner Plays John Coltrane: Live at the Village Vanguard. One of "few musicians in the history of jazz [who] have radically changed its practice, its daily working vocabulary," Tyner "is still the music's deepest colorist and gets a great, thunderous ring from his instrument" (The New York Times).
This exquisite work is re-interpreted by a star-studded cast featuring "the crown prince of the tenor saxophone" (AP) and Spring Season Artistic Director Joshua Redman, and drum guru Brian Blade. "One of jazz's best young drummers" (The New York Times), Brian Blade, an inaugural member of the SFJAZZ Collective, is a singular talent whose stunning talents and "inimitable melodic touch" (Jazz Times) make him one of today's most in-demand drummers. In addition to gracing the music of icons like Wayne Shorter, Bob Dylan, and Joni Mitchell, Blade showcases his skills as a composer of great expansiveness and originality with his own ensemble, the Brian Blade Fellowship.
Reginald Veal is a much-sought-after bassist who began recording with Wynton Marsalis in the mid-'80s and has appeared on numerous Marsalis recordings, including Standard Time, Vols. 2 and 3, The Majesty of the Blues, Crescent City Christmas, Uptown Ruler, Levee Low Moan, Tune In Tomorrow, Blue Interlude and City Movement.
The Coltrane Project: Crescent
San Francisco Jazz Spring Season
McCoy Tyner - piano
Joshua Redman - sax
Brian Blade - drums
Reginald Veal - bass
From http://www.sfjazz.org
"The Coltrane Project: Crescent"
"One of the living mainlines of jazz [and] the definer of modern jazz harmony," pianist McCoy Tyner "is the course that developing players must pass."
" The New York Times
A pillar of the "classic" John Coltrane Quartet of the 1960s, McCoy Tyner recreates the magic of one of Coltrane's most beautiful, introspective and wistful recordings, Crescent. In 1964, Tyner joined Coltrane, bassist Jimmy Garrison, and drummer Elvin Jones for Coltrane's first album of completely original work since his days with Atlantic Records in the late 50s and early 60s. With "moments of contemplation, relative serenity and perhaps resolution [in] the remarkable progression of pieces," commented noted critic Martin Williams, "Coltrane's Crescent is a remarkable achievement of lyrical poeticism and distinctive unity of mood." Three of the timeless compositions, in fact, are built on the lyrical flow of Coltrane's own poems " "Wise One," written for longtime companion and wife Naima, whose spiritual support helped him overcome his self-destructive patterns; "Lonnie's Lament," and the lilting, sensitive interplay of sax and percussion on "The Drum Thing." "After years of musical searching " of tireless, cyclonic energy," notes esteemed author Ashley Kahn, "Coltrane seemed to have found a stylistic resting point. The underlying intensity is in no way diminished, but there was a notable lack of explicit struggle in the sound."
"One of the living mainlines of jazz [and] the definer of modern jazz harmony," pianist McCoy Tyner "is the course that developing players must pass," writes The New York Times. As a teenager in the burgeoning Philadelphia jazz scene, Tyner earned the nickname "Bud Monk" for his style that initially drew on the daring bebop of pianist Bud Powell and the idiosyncratic innovations of Thelonius Monk. After honing his incomparable style with Art Farmer and Benny Golson's Jazztet in the late 1950s, Tyner joined Coltrane immediately. Coltrane said, "Our ideas meet and blend. Working with McCoy is like wearing a nice fitting glove." The two shared more than their legendary musical bond " both were intensely focused and dedicated spiritualists. "He was like a big brother to me," Tyner said of Coltrane. "Playing with John really gave me a chance to develop my style into what it became."
That style " a powerful percussive attack with intrepid, emblematic chords and sparkling melodic acuity " became not only a definitive landmark of jazz in Coltrane's quartet, but a style that would influence the course of jazz over the next half-century. Tyner has long since made jazz history in his own right, boasting legendary recordings in the 1960s like The Real McCoy and Expansions, as well as Down Beat 's Album of the Year in 1972, Sahara. Tyner's deep-rooted respect for his longtime companion is evidenced on 1988's Grammy-winning Blues for Coltrane with former Trane collaborators Pharoah Sanders and Roy Haynes, and 2003's Grammy-nominated McCoy Tyner Plays John Coltrane: Live at the Village Vanguard. One of "few musicians in the history of jazz [who] have radically changed its practice, its daily working vocabulary," Tyner "is still the music's deepest colorist and gets a great, thunderous ring from his instrument" (The New York Times).
This exquisite work is re-interpreted by a star-studded cast featuring "the crown prince of the tenor saxophone" (AP) and Spring Season Artistic Director Joshua Redman, and drum guru Brian Blade. "One of jazz's best young drummers" (The New York Times), Brian Blade, an inaugural member of the SFJAZZ Collective, is a singular talent whose stunning talents and "inimitable melodic touch" (Jazz Times) make him one of today's most in-demand drummers. In addition to gracing the music of icons like Wayne Shorter, Bob Dylan, and Joni Mitchell, Blade showcases his skills as a composer of great expansiveness and originality with his own ensemble, the Brian Blade Fellowship.
Reginald Veal is a much-sought-after bassist who began recording with Wynton Marsalis in the mid-'80s and has appeared on numerous Marsalis recordings, including Standard Time, Vols. 2 and 3, The Majesty of the Blues, Crescent City Christmas, Uptown Ruler, Levee Low Moan, Tune In Tomorrow, Blue Interlude and City Movement.
Sources
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Created At
Sat Feb 18 2006 03:07:57 GMT+0000 (Coordinated Universal Time)
Updated At
Sat Jun 04 2005 23:52:50 GMT+0000 (Coordinated Universal Time)
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