McCoy Tyner born 11 December 1928

McCoy Tyner (December 11, 1938 – March 6, 2020) was an American jazz pianist and composer known for his work with the John Coltrane Quartet (from 1960 to 1965) and his long solo career afterwards. Unlike many of the jazz keyboardists of his generation, Tyner very rarely incorporated electric keyboards or synthesizers into his work. Tyner has been widely imitated, and is one of the most recognizable and influential jazz pianists of all time. 

Born in Philadelphia, Alfred McCoy Tyner was the son of Beatrice (nee Stevenson), a beautician, and her husband, Jarvis Tyner, a church singer who worked for a firm that made medications. Aged 13 he began piano lessons, and later attended the Granoff School of Music, whose alumni included Coltrane and Dizzy Gillespie. He led his own R&B band as a high school student and played locally with a budding star, the trumpeter Lee Morgan. His neighbours in the early 50s also included the pianist siblings Richie and Bud Powell, the latter one of the pioneers of the 40s bebop revolution. 

Tyner was playing professionally by 16. Another local, the already successful saxophonist and gifted hard-bop composer Benny Golson, hired him in 1959 for the Jazztet, a new ensemble Golson would co-lead with the trumpeter Art Farmer for the next three years. But the most significant experience in the young Tyner’s apprenticeship was his friendship with Coltrane, who had by that time already come to prominence with a career-launching stint in Miles Davis’s quintet during the mid-50s. 

Tyner & Coltrane

Once Coltrane had brought Tyner into his new quartet, he remained until the classic lineup with the bassist Jimmy Garrison and the drummer Elvin Jones imploded under the pressure of Coltrane’s constant striving for a more transcendental and structureless music. Tyner left in 1965, still unreservedly respectful of his leader’s singlemindedness, but by then no longer able to locate the point of his presence in Coltrane’s changing vision. 

His freelance work across the following years included creative contributions to sessions for the Blue Note label by the saxophonists Joe Henderson and Wayne Shorter, the vibraphonist Bobby Hutcherson and the guitarist Grant Green. On his own Blue Note work as a leader he began to explore a sound that was somewhere between the song-based, soul-bop sound of his 50s work, and a looser, post-Coltrane vibe – notably in his 1967 album The Real McCoy, which featured Henderson and Jones. 

From 1970 onwards Tyner’s devotion to acoustic music came up against the emergence of a different kind of jazz that was driven by rock rhythms, electric instruments and synthesised textures. He eschewed electric music, despite its popularity, and for a time considered taking up taxi-driving. By 1972, however, he had signed to the more commercially oriented Milestone label and with a band of younger newcomers began to hone an acoustic mix of postbop, chantlike Coltrane-esque hooks and Latin grooves that would bring him a big popular following. Albums from that time included the thunderous live sets Enlightenment (1973) and Atlantis (1974), which are still revered by dance-oriented audiences today. 

In the 80s, with a more traditional neo-classical jazz movement emerging, Tyner often toured with all-star acoustic groups and began performing regularly in a bass-and-drums trio. He also formed a superb big band in 1988 that joined traditional jazz-orchestra ideas to the extended, repeating-hook open forms drawn from Coltrane, winning two Grammy awards as a result. Later he led a percussion-packed Afro-Cuban all-star band in the mid-90s and revealed himself to be a compelling unaccompanied pianist with his Jazz Roots album in 2000. Tyner was named a 2002 NEA Jazz Master by the National Endowment for the Arts. 

(Edited from John Fordham obit @ The Guardian & Wikipedia)