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With his shocking game, he took note with John Coltrane’s revolutionary quartet, then influenced almost all jazz pianists.

By Ben Ratliff

McCoy Tyner, a cornerstone of the revolutionary quartet of the 1960s by John Coltrane and one of the maximum influential pianists in the history of jazz, died Friday at home in the north of New Jersey. He 81 years.

His nephew Colby Tyner showed death. No other main points have been provided.

With Bill Evans, Herbie Hancock, Chick Korea and only a few, Mr. Tyner was one of the main fashionable jazz piano highways. Almost all Jazz pianists since the years of Mr. Tyner with Coltrane had to be informed of their lessons, whether they threw them or not.

The path of Mr. Tyner Modest, but its rich, shocking and serious sound, its lyrical improvisations focused through hard -left -wing agreements that mark the first rhythm of the bar and the center of the Musique of De los Ángeles Tonal.

This sound helped create the music environment of Coltrane and, at a certain point, to all jazz in the 1960s. (When you think of Coltrane playing “My favorite Things” or “A Supreme Love”, possibly you would think about the sound of Mr. Tyner almost as much as the Coltrane saxophone).

To a giant measure, it was a floor force for Coltrane. In a 1961 interview, approximately one year and one part after hiring Mr. Tyner, Coltrane said: “My existing pianist, McCoy Tyner, keeps the harmonies, and that allows me. It is in a way that provides me with wings and allows me to take off from the floor of time. “

Mr. Tyner located any good fortune after leaving Coltrane in 1965. But in the decade, his fame had caught his influence, and paddled one of the main Jazz directors, as well as one of the maximum venerated pianists for the rest of his life.

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