BN-LA-223-G

McCoy Tyner - Asante

Released - 1974

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, September 10, 1970
Andrew White, alto sax; McCoy Tyner, piano, wooden flute; Ted Dunbar, guitar; Buster Williams, bass; Billy Hart, drums, African percussion; Mtume, congas, percussion #2,3; Songai Sandra Smith, vocals #1,2.

6796 Malika
6797 Asante
6798 Goin' Home
6799 Fulfillment

Track Listing

Side One
Title	Author	Recording Date
Malika	McCoy Tyner	September 10 1970
Asante	McCoy Tyner	September 10 1970
Side Two
Goin' Home	McCoy Tyner	September 10 1970
Fulfillment	McCoy Tyner	September 10 1970

Liner Notes

The calmness and serenity that embodies the music of McCoy Tyner is merely an artistic extension of the inner peace of the man. McCoy possesses the rarest of gifts, the ability to transform human emotions through the medium of ivory, wood, and metal into musical statements of delicate beauty.

This album contains a quartet of previously unreleased statements by McCoy, which continues his legacy of profound creativity that epitomized his stay with John Coltrane, Jimmy Garrison and Elvin Jones, the "legendary quartet." From 1964, McCoy has been the leader of his own quartet.

Gracing Asante is the brilliant rhythm section of "Jabali" Billy Hart, drums and African percussion, and bassist "Mchezajl" Buster Williams. Individually, Jabali has toured and recorded With Mlles Davis, Pharoah Sanders, Wayne Shorter, Sam Rivers and the late Wes Montgomery; likewise, Mchezaji has performed with The Jazz Messengers, Lee Morgan, Sonny Rollins, Dexter Gordon and Joe Farrell. Collectively, they provided the dazzling rhythmic structure of Mwandishi Herbie Hancock's septet during its three year existence, as well as having recorded with Norman Conners, fellow Hancock alumnus Eddie Henderson, and Mtume James Forman's Mtume Umoja Ensemble. Since the dissolution of Hancock's septet, Jabali has rejoined McCoy's present quartet of Azar Lawrence, reeds, and bassist Joony Both, replacing Alphonse Mouzon who departed last year to join Larry Coryell's Eleventh House, as well as to embark on a solo career for Blue Note.

Joining McCoy, Mchezaji, and Jabali is the aforementioned Mtume, who is currently a member of Miles Davis' ensemble. He adds to Asante a light, joyous touch of solidarity through his creative flair and expertise on both kunga drum and percussion.

Andrew White III has added bass and cor anglais to Weather Report's I Sing the Body Electric, and Sweetnighter albums, as well as having recorded extensively in Europe as a solo artist. Here he displays a seldom heard facet of his instrumental depth, the alto saxophone.

Ted Dunbar's appearance on Asante marks the first time as a leader that McCoy has recorded utilizing an electric guitar. Dunbar, who has recorded with The Tony Williams Lifetime, Norman Conners' Dance of Magic, and is presently a member of the Gil Evans Orchestra. He uses the guitar in a unique fashion, creating delicate tonal colors, and freeing himself from the rhythmic limitations that have long inhibited the jazz guitarist. Songai Sandra Smith teaches school as a profession in New York. Her vocal work on "Malika" and 'Asante" adds a hauntingly expressive dimension to the work of her fellow instrumentalists. She slides above and between them, managing at times to sound like something other than a human voice.

As for the music found on Asante, and its relationship to McCoy's present work, McCoy relates it to the paradox of being asked, "Do you enjoy life more or less than when you were five years old?" "They're both just stages of development. After all, when you're five years old, you have very little choice not to be five years old. Conversely, this album represents my life and music as it was at the time it was recorded."

Side one presents two images of Africa and the spirituality that is so much a part of McCoy's life and music "Malika," "the creator" opens serenely with layers of African percussion which gradually build in intensity, later joined by a more conventional western rhythm section, which lays an earthbound foundation for Andrew White and Songai to soar high above. The initial motif of kungas, bells, and McCoy's wooden flute is then repeated with Mchezaji's bowed interlude providing a moment of reflection before McCoy's shimmering solo restates the theme which ends with the hush of the wooden flute and a mournful bass. "Asante," Swahili for "thank-you," is a reverent and lyrical offering of gratitude from McCoy Tyner to the Creator. Once again, it features introspective solos by Songai, Andrew, and McCoy.

The second side of Asante is a collage of themes based upon McCoy's childhood remembrances of the American South "Goin' Home" finds McCoy in a rare moment of what might wel I be described as funkiness, but he prefers to call it "earthiness". Mtume's kunga playing is a sheer delight, and Mchezaji's solo bass accompanied by the fragile textures of McCoy's plucked piano strings is a display of rare beauty. "Fulfillment," which is very reminiscent of Sahara, provides McCoy with an opportunity to stretch out with a solo that is nothing short of stunning, and constantly driven by the searing work of MchezaJi and Jabali Ted Dunbar's solo guitar serves as an exciting prelude to Andrew White's fiery alto solo which climaxes the song and the album Asante, a personal and musical statement of McCoy Tyner, the man. The Supreme Offering.

—Leigh Kaplan

I would like to take this last opportunity on behalf of McCoy, whose wish it is to sincerely thank each of the musicians involved for expressing themselves, and the music so beautifully.

Produced by: Duke Pearson
Recorded at: Van Gelder Recording Studio
Recording Engineer: Rudy Van Gelder
Recorded: September 10th, 1970 Remix Engineer: Christina Hersch, U A. Recording Studio
Photography: Doug Metzler
Design: John Williams
Art Direction: Bob Cato

1998 CD Reissue Liner Notes

McCoy Tyner has had one of the jazz world's most distinctive and creative careers. The scope of his work (up to 1997) would make Mozart proud. Orchestras, big bands, chamber groups, solos and duos, and all-star groups have had McCoy's sound grace their bandstands.

Born in Philadelphia, McCoy had a wonderful childhood. The neighborhood that he grew up in was a stable one, and McCoy would indulge in artistic passions not common to the day. By the age of fifteen he was gigging on piano in a circle of friends that included Lee Morgan and Reggie Workman. He met John Coltrane at this time and began a long friendship that would eventually change the sound of jazz. His first foray into the national spotlight was with the Art Farmer-Benny Golson Jazztet In the summer of 1960, McCoy joined the John Coltrane group.

From 1960 until 1965, McCoy recorded over 40 records with the Coltrane group. "My Favorite Things", "Impressions", "Ascension" and "A Love Supreme" are landmark jazz recordings. During McCoy's tenure with Coltrane, he recorded 6 albums for ABC-impulse! These sides showed a different McCoy Tyner, a "well rounded" view of him as a musician. He recorded in the context of a trio, quartet, quintet and a sextet. The music was not as ferocious as the Coltrane group; McCoy's "sound" was that of stunning musicianship and a profound sense of beauty. Because of that musicianship, McCoy was "in demand" (in the 1960s that meant "occasionally") as a sideman. He first date for the Blue Note label was on June 19, 1960. McCoy was still a member of the Farmer-Golson band. The occasion was for Freddie Hubbard's Blue Note debut OPEN SESAME. Soon McCoy became a "regular" on Blue Note sessions, and when his contract with Impulse! expired, he signed with Blue Note. He was one of Alfred Lion's last signings.

On April 21, 1967, the classic THE REAL McCOY was recorded. This session gave birth to two jazz standards: "Passion Dance" and "Search For Peace." McCoy's next session, TENDER MOMENTS, was a treat. Encouraged by Duke Pearson, McCoy assembled a small big band (trumpet, trombone, french horn, tuba, alto sax, doubling flute, tenor sax, and the trio) and arranged his music for this group (featuring Lee Morgan among others). TENDER MOMENTS is a gem.

McCoy formed a permanent trio (Herbie Lewis on bass and Freddie Waits on drums) in early 1968 and soon set out to work his music around this group. He recorded TIME FOR TYNER on May 24 with this trio (with Bobby Hutcherson added on four titles). His second expansion of the trio was the aptly titled album EXPANSIONS (recorded on August 23 of 1968). McCoy added Woody Shaw, Gary Bartz, Wayne Shorter and Ron Carter (on cello!) to his trio. The saxophonists doubled on flute and clarinet for texture. The jazz standard "Peresina" is from this session.

A trio session (with a percussionist added for three titles) from November 22 of 1968 yielded one releasable track (PLANET X). He then "expanded" the trio (soprano sax, oboe/flute, and a string quartet) and entered into the studio again on April 4 of 1969. He first recorded "Song For My Lady" on this session, but the music from these dates were not released until 1977. The next session to be released (recorded on February 9, 1970 but released in 1972) was EXTENSIONS, an all-star date. Shorter and Bartz were recalled, and Ron Carter was now on bass. McCoy added Alice Coltrane on harp and Elvin Jones on drums.

On July 21 of 1970, McCoy added three woodwinds to his trio (Hubert Laws on flute, Andrew White on oboe, and Gary Bartz on soprano and alto saxes) and entered the Van Gelder studio. The titles were eventually released in 1977. "Forbidden Land" (track #5) starts with a rubato intro with flute and oboe dueting over percussion. McCoy enters with harp-like arpeggios and sets the mood instantly. After a piano transition passage, McCoy kicks the groove in, and bang, you're in his world. The piece is essentially in G, with a cadence at the end of each phrase until the intro vamp phrase reappears. Laws, Bartz (on soprano) and McCoy are featured on this track, which ends as quietly as it begins. "Asian Lullaby" (track #6) is a simple folk-like melody played over an intense background. McCoy states the melody first, and then Bartz (on alto) answers him (twice) before launching into a high-energy solo. McCoy follows with a blistering solo, with a drum solo following and a return to the melody. This is pure energy music. "Hope" (track is a beautiful line that is shared by Laws (on alto flute), White on oboe and Bartz on soprano. After this statement, McCoy and trio roll into a hard 4/4 groove over a harmonically challenging and complex improvising form. Bartz follows on alto, and Herbie Lewis takes a solo. The three winds reenter to announce the melody, and the songs ends.

By the time McCoy recorded ASANTE (September 10, 1970), he was well on his way to the McCoy of the MILESTONE period. ASANTE was a well—defined look into the future of McCoy, the sound of his band and the texture of his music. He had worked hard to get this sound, and as you can hear, he found his voice. ASANTE reaches back to Africa: wood flute, the guitar used as a kora, African percussion and wordless vocals. "Malika" begins with a "rainforest" of winds and percussion. Soon, the 12/8 African clave appears and the the melody is stated by sax and voice. "Asante" starts rubato (McCoy liked these meditative beginnings) with Ted Dunbar establishing the mood. Songai enters with a very pensive vocal performance, and music takes on a "Saharan" feeling. Then, quietly, the groove sneaks in. McCoy sets up the entrance of Andrew White, who plays a short but intense solo. Songai reenters and brings back the rubato "Saharan" feeling and the compositions slowly winds down. "Goin' Home" starts with a quasi-soul/jazz groove. Andrew White enters with the melody, and after two statements, Buster Williams is given a feature spot for his bass. Andrew White burns through a solo and McCoy follows in similar fashion. The melody returns and the song fades with a repeat of the intro figure. "Fulfillment" is from the tradition of "Passion Dance" and "Four By Five", with it's sinewy lines and surprise rhythmic twists. McCoy hits the 4/4 like a rocket off a launch pad. This is hard-core jazz at its best. Ted Dunbar and Andrew White have to follow McCoy's tornado solo. Buster Williams and then, via a transition phrase, Billy Hart solo, Hart's contribution being part of the group sound, but given a prominent role. A drum snap announces McCoy's return and then he sets up the 'head' and the performance ends with a small solo interlude from McCoy and a group ending.

McCoy's last session for Blue Note (until the mid-eighties) was on October 13, 1970, and was a Wayne Shorter date that has never been issued. It featured Wayne, McCoy, Miroslav Vitous on bass, Al Mouzon on drums and Barbara Burton on percussion. The music is a mixture of McCoy's group sound (from the '69-'70 sessions) and that of Wayne's last two records, MOTO GROSSO FEIO and ODDESSY OF ISKA. McCoy signed with Milestone and began one of jazz's most prolific and rewarding recording careers. The seeds of his success from the '70s is partly due to the level he attained while recording for Blue Note. His growth as a consummate jazz artist is fully documented, and ASANTE is just part of that wonderful living legacy.

—BOB BELDEN
1998