1. Satin Doll 
2. We'll Be Together Again 
3. Round Midnight 
4. For Heaven's Sake 
5. Star Eyes 
6. Blue Monk 
7. Groove Waltz 
8. Days of Wine And Roses

McCoy Tyner (piano)
Steve Davis (bass)
Lex Humphries (drums)

As the title implies, this McCoy Tyner release is a low-key, after-hours affair. Far removed from the intensity of work with then-boss John Coltrane, Tyner stretches out on a fine mix of standards and bebop classics. The pianist, of course, always had his own fleet and rich way with ballads, in spite of the galvanizing marathon solos he became known for on live dates and his later experimental recordings with Coltrane. His ballad style is even touched with a bit of sentimentality, which thankfully is kept in check by a bevy of tasteful lines. Backed by the topnotch rhythm tandem of bassist Steve Davis and drummer Lex Humphries, Tyner finds the room to develop classic statements on highlights like Monk's "'Round Midnight," Ellington and Strayhorn's "Satin Doll," and Parker's "Star Eyes." On more easeful tracks like "For Heaven's Sake," Tyner utilizes his block chord approach to meditative and romantic effect. Rounded out by solid blues sides like "Blue Monk" and Tyner's own "Groove Waltz," Nights of Ballads and Blues qualifies as one of the pianist's most enjoyable early discs. --- Stephen Cook, Rovi

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1. Manhattan Moods 	
2. Blue Monk 	
3. Dearly Beloved 	
4. I Loves You, Porgy			play 	
5. Isn't This My Sound Around Me? 	
6. Soul Eyes 	
7. Travelin' Blues 	
8. Rosie 	
9. For Heaven's Sake

    McCoy Tyner - piano
    Bobby Hutcherson - vibes, marimba

The pairing of pianist McCoy Tyner and vibraphonist Bobby Hutcherson had them teamed up with firebrands of modern jazz in the '60s, but some 20 years later they made this recording in duet performance with their minds focused on the mellow side. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. They play a mix of standards and originals with the genius inventiveness and spontaneous interplay you would expect, while also elongating beautiful melodies that will warm any cold or bitterly emotional situation. Where Tyner's single-minded witty and improvisational extrapolations are always a part of his musical persona, Hutcherson varies the sonic imprint, playing the noble wooden marimba on several tracks, lending a more earthy, organic feeling. There's magic in the air, or at the very least a common ground of shared values that makes this combination of two great musicians turn everything golden. A take on Thelonious Monk's "Blue Monk" is a shining example of how to make a well-worn standard all your own, as the pianist imbues a pure Kansas City blues flavor into the tune, and Hutcherson's marimba leads it carefully into new, woodsy territory. Mal Waldron's "Soul Eyes" is interpreted as faithfully and profoundly as the original, but with new voicings sans a rhythm section, taking the adoring melody into deeper fathoms. Tyner's signature chord accents during "Dearly Beloved" echo the splendid title as tacked onto Hutcherson's shimmering vibes, while the pianist's penchant for modal foundations is clearly exuded on his partner's relaxed marimba-coded original "Isn't This My Sound Around Me?" and the definitive, dependable Tyner staple "Travelin' Blues." "Manhattan Moods," penned by the pianist, is solemn as can be, considering that it is dedicated to the rat race borough of New York City, while Hutcherson's other composition on the date, "Rosie," is as pleasant a waltz as you will hear short of what Randy Weston might do. These groundbreaking musicians are not rotating the Earth or signaling any new directions with this effort. They are completely in touch with their own hearts and souls, as well as those of humankind in general, on this exquisite and gorgeously crafted set of pure unadulterated jazz. ---Michael G. Nastos, allmusic.com

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A1 	Inception 	4:18
A2 	There Is No Greater Love 	6:07
A3 	Blues For Gwen 	4:16
B1 	Sunset 	4:30
B2 	Effendi 	6:23
B3 	Speak Low 	6:05

Bass – Art Davis
Drums – Elvin Jones 
Piano – McCoy Tyner 

Those familiar with the dense, percussive style that pianist McCoy Tyner has cultivated since the 1970s onwards may be surprised by what they hear on Inception. Like Reaching Fourth and Nights of Ballads and Blues, this album gives listeners the chance to hear what a very young Tyner sounded like outside the confines of the classic John Coltrane quartet of the early '60s; it reveals a lyrical approach to jazz piano that seems a far cry from Tyner's mature style. The choice of material is fairly evenly split between modal pieces like "Inception" and more harmonically involved tunes like "Speak Low," and the pianist's treatment of both demonstrates the extent to which his early work was rooted in bebop. Tyner had yet to develop the massive orchestral sound and highly distinctive vocabulary of modal licks that would mark his later style, and throughout this album he spins dizzyingly long and singing lines with an exquisitely light touch. The irresistible rush of forward momentum that he maintains on tracks like "Effendi" and "Blues for Gwen" is breathtaking, and there is an exuberant, almost athletic quality to much of his solo work. Bassist Art Davis and drummer Elvin Jones provide superb accompaniment throughout, and they lay a solid rhythmic foundation for Tyner's sparkling melodic flights. The pianist's penchant for drama, which asserts itself more strongly in his later work, is on brief display in the original ballad "Sunset"; his skills as an arranger, though evident on several tracks, are perhaps best illustrated by the intricate contrapuntal treatment of "There Is No Greater Love." ---Alexander Gelfand, AllMusic Review

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1. Message from the Nile - 12:21
2. The Wanderer - 7:42
3. Survival Blues - 13:15
4. His Blessings - 6:50

McCoy Tyner - piano
Gary Bartz - alto saxophone
Wayne Shorter - tenor, soprano saxophone
Ron Carter - bass
Elvin Jones - drums
Alice Coltrane – harp

This CD has an interesting combination of players. It may be the only recording to include both pianist McCoy Tyner and his successor with the John Coltrane Quartet, Alice Coltrane (who adds atmosphere with her harp). This set also matches the young altoist Gary Bartz with Wayne Shorter (doubling on tenor and soprano), who he succeeded in Miles Davis' group, and has reunions between Shorter and bassist Ron Carter and between Tyner and drummer Elvin Jones. The all-star sextet stretches out on lengthy renditions of four of Tyner's modal originals, and there is strong solo space for the leader and the two saxophonists. Wayne Shorter in particular is often quite intense. Stimulating music. ---Scott Yanow, Rovi

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01. Improvisation 2 (with Marc Ribot) 1:34
02. Passion Dance (with Marc Ribot) 6:10
03. 500 Miles (with Marc Ribot) 6:22
04. Mr. P.C. (with John Scofield) 6:21
05. Blues On The Corner (with John Scofield) 6:07
06. Improvisation 1 (with Marc Ribot) 3:46
07. Trade Winds (with Bela Fleck) 6:35
08. Amberjack (with Bela Fleck) 4:36
09. My Favorite Things (with Bela Fleck) 7:01
10. Slapback Blues (with Derek Trucks) 3:46        play
11. Greensleeves (with Derek Trucks) 6:15
12. Contemplation (with Bill Frisell) 7:55
13. Boubacar (with Bill Frisell) 2:18              play
14. Baba Drame (with Bill Frisell) 5:21

Personnel
McCoy Tyner- Piano
Ron Carter Bass
Jack DeJohnette Drums
Marc Ribot- Guitar (tracks 1, 2, 3 & 6)
John Scofield- Guitar (tracks 4 & 5)
Béla Fleck- Banjo (tracks 7, 8 & 9)
Derek Trucks- Guitar (tracks 10 & 11)
Bill Frisell- Guitar (tracks 12, 13 & 14)

McCoy TYNER – Guitars 2008
Recorded at Clinton Studios, New York on September 7 (tracks 4-5 & 10-14)
and September 25 (tracks 1-3 & 6-9), 2006

Guitars features piano legend McCoy Tyner in a series of aggressive and clamorous tracks with guitarists Marc Ribot, John Scofield, Derek Trucks, Bill Frisell, and banjoist Béla Fleck. The 70-year-old Tyner sounds as good as ever. His solos peer through the dense layers with innocent curiosity, climbing to intense peaks.

John Snyder, the producer of the album, suggests in his liner notes that in the presence of Tyner, a feeling of intimidation hovered above the otherwise fraternal collaboration. This could explain why tracks such as ‘Passion Dance” and “Mr. P.C,” which feature Marc Ribot and John Scofield, respectively, end up being so cacophonous; as if the jittery guitarists are trying too hard to prove themselves to a jazz giant.

More likely, however, the cause is that Tyner’s accompaniment isn’t tailored to best complement the guitar. Behind the solos of the guest artists, Tyner lays down a thick and constant foundation. A distinctive characteristic of his playing, this approach works well alongside saxophonists, but turns muddy alongside the guitar, whose timbre and attack is too similar to that of the piano.

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