Trumpet hit-maker Lee Morgan, who later recorded several sessions with Tyner on piano, was there. Post-bop incubated in the hothouse clubs clubs of '50s Philadelphia.
In the end it's all the same spiritual outlet." It's all the same thing, except in jazz you're playin' more notes and intellectualizing. A horn player pickin' up a horn and honkin', that's the feeling in blues or R&B or modern jazz. A lot of very intellectually astute artists came out of very humble beginnings. "It gave me a chance to express myself at that stage of my life. There's no indication of Tyner on any of these tracks, but type the band's name into 's "popular music" box and take a listen to the sound of Tyner's teens. Even the name sounds like R&B, doesn't it? They had a lot of gigs in the area."ĭaisy Mae socked out some funky '50s R&B on Philly's Gotham label. One of the bands was called Daisy Mae and Her Hep Cats. Most of the musicians were my seniors but they'd hear me play and start calling me for gigs. We played house parties, fairs, talent shows - the thing is, there was a lot of R&B and blues in Philadelphia back then. He'd be walking around the neighborhood with people following him everywhere."
He didn't talk that much, but just being around him was great. Powell suffered some racial misfortunes in the city of brotherly love, but he had family there and for a while he lived in an apartment around the corner from Tyner's house. One day Tyner came home from school and found bebop legend Bud Powell sitting in the shop playing that piano. The shop was the biggest room we had, so that's where the piano went." We lived behind the beauty shop and upstairs of it. About a year after I started she said okay, you seem like you really want to play, so I'll buy you one. "My mother loved piano, she liked to hear it. People say Bach was an improviser, and you can hear it in his music. It was good, and not just for technical facility. I couldn't wait to get home and practice - I'd hit the keys right after school. We didn't have a piano, but she had three clients who let me play theirs. Over his father's objections, this strong woman encouraged him to take lessons in his native Philadelphia. "I was lucky to have a mom who cared and wanted to help me," he says during the phone interview last week. Tyner, 67, is an archetypal example of America's best, born under a good star, in his right time and place. But jazz is juicy African-American fruit, and these days we have to reclaim whatever's left that makes our country great. music biz does its best to suppress sounds that don't make mass-market millions. Continental labels are taking risks while the U.S. Why should you care if Tyner's coming to town? And a few years back Village Voice jazz critic Gary Giddins quit reviewing, calling jazz an art form of the past. You've heard the rumors that jazz is dead. They packed Overture Hall for Sonny Rollins last year, and Tyner at WUT should draw a similar crowd. Madison has its fair share of hardcore jazzheads. When Tyner's famous fingers fly over the ivories making modal soul you won't miss a beat. This is intimate, stripped-down, pure jazz, Jack. It has superplayers Charnett Moffett on bass and Eric Kamau Gravatt on drums. The latest incarnation of the McCoy Tyner trio cooks. Tyner's whopping career spans some 50 years he has 80 albums and four Grammys under his belt. It's the first act in the classy new Isthmus Jazz Series, which later this season brings in Eddie Palmieri and Dianne Reeves. It's been a while, but Tyner returns to the WUT on Friday, Oct. Over the years he's played several Madison gigs, including two at the Wisconsin Union Theater, in 1973 and '78. Jazz piano giant McCoy Tyner's no stranger in this town.
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