The real McCoy at his best

Legendary jazz pianist McCoy Tyner will be performing along with Charnette Moffett on bass and Eric Gravatt on drums as the McCoy Tyner Trio. The band has been performing at Blues Alley all week and will play twice a night this weekend.

For those who don't know him, Tyner was the pianist in the historic John Coltrane Quartet from 1960 to 1965. Many listeners may be familiar with his solo on Coltrane's rendition of "My Favorite Things"; Tyner was only 20 years old at the time. He has continued to be a pioneer in modern jazz as a solo pianist, big band leader and everything in between.

Now in his mid-60s, Tyner and his playing have never been more energetic. His stellar performance last Tuesday night had uncompromising virtuosity and vision and more intensity and groove than any rock or hip-hop group on MTV. Listening to him with eyes closed, it is hard to imagine that all that music is coming from just one person. Tyner's technique is flawless. His frantic right hand can be compared to Oscar Peterson's, his harmonically daring chord voicings rival the taste and complexity of Duke Ellington and the percussive and polyrhythmic interplay between his hands is unrivaled.

But the trio's electric performance is also indebted to a phenomenal rhythm section. Moffett is one of the best-sounding bassists. Maybe it was some magical union between the acoustics of the club, the amp and Moffett's fingers, but Moffett's tone was clearer and fuller than any upright bassist's. He plays with comfort and confidence that few upright bassists can claim. The range of his technique rivals Stanley Clark's—fingerstyle, bowing, slapping and harmonics are all smoothly integrated into extremely lyrical solos. In addition, his sense of time is absolutely impeccable; Moffett can play funkier than Tony Levin, Mr. Funk-Fingers himself.

When it comes to pure physical enthusiasm, neither Tyner nor Moffett can compete with Gravatt, who plays circular polyrhythmic patterns on his set while playing eighth notes on the high-hat with his foot. Occasionally, he hit his ride cymbal so hard that it almost fell over. Gravatt's playing is also extremely well-phrased, with wonderfully orchestrated unison lines between Tyner and himself.

From the first pieces, "Serra Do Mar" and "Will You Still Be Mine," the trio quickly establishes a pattern of lightning-fast piano solos and thunderous, grooving bass melody and piano chords. Tyner's left hand leaps a foot above the keys, but even in the densest passages, his playing remains melodic.

The group takes it down a notch for the soft ballad, "December," off Tyner's new album, Land of Giants, which features a beautiful, melodic solo by Moffett. On Tuesday, the group next played "Manalyuca," another new tune. The piece centers around a dark, Latin-flavored bass groove, giving Tyner an opportunity to play his heart out. During the extended jam, Moffett brought out his bow and played an almost flamenco-sounding solo, and Gravatt did some of his most explosive drumming of the night.

While Moffett and Gravatt paused to catch their breaths, Tyner performed a sweet solo rendition of "I Should Care." Even when Tyner turns down the volume, he never lets up on the intensity. The group played one more piece before a funky encore. The whole performance maintained a sense of urgency, as if there is so much music inside these three musicians that it can't get out fast enough. Any fan of good music will have a ball.