Focal Point

Focal Point has always been my favorite McCoy Tyner album. I will remember when it first came out, I was fascinated by the music and, on my first flush of success, I too it with me when I bought my first stereo components. The detailed interplay between the piano, bass, drums and bongos(!) was amazing to listen to. I tested several speakers before I found the AR-2s which would allow me to hear each intstrument separately and hear how each instrumentalist responded to the other. What more can you ask of a jazz recording? It's all about communicating and when you can hear each instrument separately and see how well they communicate, it's a thrill. I don't think any other recording has sounded the same to me since. This CD is the standard against which I measure all others. I have had the opportunity to see McCoy Tyner's trio twice in the past six months and he still thrills me from the first chord. Don't miss him when he and Aaron Scott (drums) and Avery Sharpe (bass and electric bass) come your way. You will never hear piano the same way again. Buy this recording; you will never regret it.

I really love this period in his carreer. Energetic, percussive music, with his trademark acoustic piano and acoustic bass. High wired without the electronics of that era. Gary Bartz is one of my favorite soloist. You can hear the Coltane legacy come through on his alto. My favorite track, Mode for Dulcimer.

I definitely agree with William Donoghue. Both technically & artistically, FOCAL POINT is the toppermost of the tynermost. Tyner's low-end is in the left channel and his upper register is in the right channel. On Tyner's own records as a leader, Tyner has been every bit as erratic as Coltrane. But Tyner really redeemed himself with FOCAL POINT. This is fierce hard-hitting stuff that hits you where it counts. There's a 3-beat track called PARODY. Which raises the question: is PARODY so-named because it's a parody of Chick Corea's 3-beat tracks and Bill Evans's 3-beat tracks?Here's a quote from Tyner himself: "Composition is taking a larger role, which is a good sign for the music. It means that we're hearing other forms. When changes take place in the music, it often happens compositionally. Guys start to write differently, and pretty soon you'll hear a concept change. Of course, it depends on the artist. John [Coltrane] created a change thru his playing. His writing complemented his style. In a way I think that's true in my own case. I write my own music best, as a complement to my style as a player."

McCoy's music, influenced greatly by John Coltrane's approach and intensity, usually sounds like the aural equivalent of somebody screaming loudly at God while falling down stairs. And most of this album barrels along in such a manner. Eric Gravatt on drums stutters and interjects and generally sounds as if he's falling down stairs, presumably to fit in with McCoy's playing. It's jazz that does not relax or transcend. But there is a great track here, "Mes Trois Fils". That's a great theme, and beneath the barreling piano and horns the bass and drums augment it well.

This album is McCoy Tyner's best piece of work. It encompasses a total sum of great instrumental arranging and compositional ear candy!