Great and burdensome expectations are incumbent on this CD, on at least two levels. On the one hand it is rich with resonances of the great Coltrane quartet of 1961-65; on the other it features perhaps the greatest tenor saxophone virtuoso of modern times and one of the most influential (yet underrated) of modern piano stylists. Perhaps inevitably, one’s perceptions of the opening track are coloured by this prejudice, Flying High seeming to offer no advance on, indeed a mere rerun, of former glories. However, as the programme unfolds and one’s concentration relaxes, one is caught unawares by numerous moments of brilliance, not to say stylistic elements (like the electric bass driven gospel vamp of Happy Days and McCoy’s old-time Blues Stride solo) which are a million miles from Trane’s dutiful solemnity. Sample, for example, the scorching dialogue between Tyner and Brecker in the coda to Changes, and try to fathom how Brecker arrived at the sustained logical brilliance of his statement at 8.50. Brecker might be portrayed as a mere polisher and finisher of Trane’s rough-hewn diamonds, but only a clot would mistake his inspired five-minute essay on the Impressions test as the work of anyone else.
McCoy has put some distance between himself and Coltrane too. Impressions and the like naturally draw out the quartal and pentatonic approach which characterised his playing in those days, but his range of expression has widened in recent years to include stride, funk and a florid, more diatonic pre-Trane style, exemplified in parts of Changes. The articulation remains as thrillingly crisp as ever, and contributes to a thoroughly successful record in which the most Draconian expectations are handsomely met.
Discography
Flying High; I Mean You; Where Is Love; Changes; Blues Stride; Happy Days; Impressions; Mellow Minor; Good Morning, Heartache (72.15)
Tyner (p); Michael Brecker (ts); Avery Sharpe (b); Aaron Scott (d); Valtinho Anastacio (cga, pc). Van Gelder Studio, NJ, April 12-14, 1995.
(Impulse! IMP 11712)
