Search - McCoy Tyner :: Horizon

Both a wrap-up and a new beginning

Jan P. Dennis | Monument, CO USA | 09/14/2007

(5 out of 5 stars)

"This is the last of a series of 1970s-era collaborative albums between legendary producer Orrin Keepnews and emerging piano giant McCoy Tyner, only now, in the latter part of 2007, finally reissued on CD. It represents an amazingly creative period for Tyner, begining with the brilliant Sahara, and including such standouts as Atlantis, Enlightenment, and Sama Layuca. This album, out of print for more than 25 years, is perhaps one of the lesser known of the Tyner/Keepnews sessions, but in my view surpasses the better-known ones.



As the title of this review indicates, it both sums up a trend and signals a new direction: It sums up in that it continues the strong, even unique, vision Tyner presents in the previous '70s Milestone recordings even as it presages a new direction for Tyner--and, indeed, for jazz itself--in incorporating an expanded soundscape and a definite world-music-ish approach, soon to be fully exploited on La Leyenda de la Hora and finally perfected on McCoy Tyner & the Latin Jazz All-Stars.



On this recording Tyner augments the typical jazz quartet--sax, piano, bass, drums--with another sax, a violin (!), and a percussionist. The reconfigured aural palette makes all the difference. Violinist John Blake was a brilliant choice. His penetrating, spot-on tone almost sounds like another horn, but with a unique, haunting timbre. Joe Ford on alto, soprano, and flute, who later went on to light up sessions with Jerry Gonzales's Fort Apache group, makes a wonderful front-line hornman. Teaming him with the relative unknown (at that time) tenor saxman and flautist, George Adams, was a stroke of genius. Add a young but precociously brilliant Charles Fambrough on bass and the inimitable Al Foster on drums, augmented by the sly percussion of Guilherme Franco, and you have a band of astounding chops and vast coloration.



With Tyner at the absolute apex of his ridiculous pianistic gifts, a band to die for, and a handful of soulful tunes, this marks a highpoint in the vast McCoy Tyner canon. Not to be missed."

It's About Time

S. Mestayer | 10/12/2007

(5 out of 5 stars)

"I had the Horizon album on vinyl bought in 1980 and have been looking for it on CD for about 15 years now. All I can say is "it's about time". the Track "Just Feelin'" has been one of my favorites for years and I can't wait to hear it without the pops that my vinyl disc has collected over the years.



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70's Tyner Septet Re-issued

Joe Pierre | Los Angeles, CA United States | 08/11/2008

(4 out of 5 stars)

"Having been a big fan of Mccoy Tyner's 'The Greeting,' recorded live in 1978, I picked up this LP studio recording from 1979 featuring nearly the same band with Tyner, Joe Ford (flute, alto sax, soprano sax), George Adams (tenor sax, flute), Charles Frambough (bass), Al Foster (drums), Guilherme Franco (percussion, congas), and the addition of John Blake on violin. Much like 'The Greeting,' it took 'Horizon' some time (20 years) to make the transfer to CD, but now it's finally here.



Tyner's group with two horns, in this case George Adams and Joe Ford, along with drums and percussion (the new liner notes reveal that Franco's percussion was actually added in studio overdub) typified his energy music of the 70's. Tyner here is playing somewhat more restrained than in some of his live dates, but his solos are masterfully laid down and it's a joy to hear the notes again, especially how he starts off the solos on 'Horizon' and 'One for Honor.' Aside from Tyner, George Adams was the reason I liked this group so much -- he and Ford really tore it up on 'The Greeting' and approach that same energy here, especially on the track 'Motherland,' but also on 'Horizon' and 'Just Feelin,' with some great solos. Charles Frambough is also a standout -- both in terms of how he's situated up front in recording mix, as well as how he kicks off both 'Motherland' and 'One for Honor' with a strong bass vamp whose pulse is maintained throughout the music. Overall the recording/remastering here is quite good, with all players sounding clear and forceful. To be honest though, I could do without the addition of John Blake on violin -- he's a dominant voice, has undeniable chops, and takes some excellent solos, but sometimes his arco sounds a little on the whiny side and during the choruses especially his tone softens the band's sound, muting some of the raw energy.



For me, 'Motherland' is far and away the best track here in terms of energy and solos, followed by 'Just Feelin'' and 'Horizon.' 'One for Honor,' with just Tyner, Fambrough, and Foster without the horns and violin is pretty excellent too -- only too short at under 5 minutes. 'Woman of Tomorrow' is a slow, sedate ballad with Ford and Adams on flutes along with Blake. The re-release adds an alternate (actually it was the first) take of 'Horizon' to bring the total CD time to 50 minutes. In retrospect, I think they chose right on the original release, but it's great to hear the "new" music, and to see how much of the music is straight composition versus improvisation.



It's a pity we don't have more from this line-up, and especially the teaming up of Adams with Tyner. Of the two recordings with this duo, I prefer the free abandon of the 'The Greeting' over the studio polish of 'Horizon,' but this is good too and it's great to see it remastered for CD.





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