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Old 02.17.2016, 06:00 AM   #28
Kuhb
bad moon rising
 
Join Date: Jul 2008
Posts: 144
Kuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's assesKuhb kicks all y'all's asses
Quote:
Originally Posted by noisereductions
you nailed it man. I never really made the McCoy Tyner comparison, but now it's totally dead on in my mind. Yeah.

There's definitely something I think. I'm mainly basing this on the way he uses his hands as kind of separate entities... unlike the Hancock/Evans school of 50s/60s players, where what's happening between the hands shares some distinctive relationship (scales match chords perfectly, always rooted in some kind of classical harmony, even if heavily altered), Tyner was happy to use somewhat ambiguous sounds in both hands, meaning things that aren't really "supposed" to go together can be sort of "layered", opening up all kinds of different possibilities. I feel like Shipp comes right out if that... and you can totally hear it in the David S Ware bands in the late 90s/00s, where Shipp was totally playing that Tyner role.

Apologies if that's stupidly technical or whatever... I just really like talking about jazz.
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