Tyner did the same with countless other … He was an NEA Jazz Master and a five-time Grammy winner. Tyner’s survivors include his wife, Aisha Tyner; his son, Nurudeen, who is known as Deen; his brother, Jarvis; his sister, Gwendolyn-Yvette Tyner; and three grandchildren.Harmonically, his sound was strongly defined by his use of modes — the old scales that governed a fair amount of the music Mr. Tyner played during his time with Coltrane — and by his chord voicings. His father sang in a church quartet and worked for a company that made medicated cream; his mother was a beautician. The four comprised what became known as Coltrane’s ‘classic Quartet’, and their collective achievement over the next five years would place them among the greatest jazz ensembles of all time. In 1956 the two set plans to team up in the future, once Coltrane had started his own group and once Tyner had the chops to keep up. The pianist McCoy Tyner, who has died aged 81, ... who had by that time already come to prominence with a career-launching stint in Miles Davis’s quintet during the mid-50s. Not a player of electric keyboards and synthesizers, he was committed to acoustic instrumentation. McCoy Tyner Biography by Matt Collar + Follow Artist. He’s sort of the one who gives me wings and lets me take off from the ground from time to time.”Mr. He was 81.Julia Carmel contributed reporting.The Coltrane quartet worked constantly through 1965, reaching one high-water mark for jazz after another on albums like “A Love Supreme,” “Crescent,” “Coltrane Live at Birdland,” “Ballads” and “Impressions,” all recorded for the Impulse label.He stayed with Blue Note for five years, starting with a fairly familiar quartet sound and progressing to larger ensembles, but these were temporary bands assembled for recording sessions, not working groups. Mr. Tyner was in a band led by the trumpeter Cal Massey in 1957 when he met Coltrane at a Philadelphia club called the Red Rooster. From the mid-’90s on he tended to concentrate on small-band and solo recordings.He resisted analyzing or theorizing about his own work. His experiments outside the piano ran toward the koto, as heard on the 1972 album “Sahara,” and harpsichord and celeste, on “Trident” (1975).“To me,” he told Mr. Hentoff, “living and music are all the same thing. Therefore, just as I can’t predict what kinds of experiences I’m going to have, I can’t predict the directions in which my music will go. Mr. Tyner started taking piano lessons at 13, and a year later his mother bought him his first piano, setting it up in her beauty shop.“I play what I live. His experiments outside the piano ran toward the koto, as heard on the 1972 album “Sahara,” and harpsichord and celeste, on “Trident” (1975).“To me,” he told Mr. Hentoff, “living and music are all the same thing. No other details were provided. He first met Coltrane in 1957, when the saxophonist lived nearby and was playing with Miles Davis. But on the occasion of Tyner’s death it’s also worth recognizing that ‘the Real McCoy’ had a penetrating voice and lasting influence all his own.Setting into these uncharted territories, Coltrane turned to a mostly untested 21-year-old Tyner, then tapped the polyrhythmic ear of drummer Elvin Jones and eventually brought on bassist Jimmy Garrison.
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