Conrad Herwig’s Approach to McCoy Tyner

Cover of the album being discussed

Many readers probably know that I was decidedly “late for the party” when Conrad Herwig launched his series of “Latin Side of” albums. The first of these was The Latin Side of John Coltrane, which appeared in 1996, long before I ever dreamed that writing about music would become my primary occupation. This month’s release turns out, at least in part, to reflect on Coltrane’s influences. The latest album is The Latin Side of McCoy Tyner, which explores the pianist’s ventures into original compositions following his departure from Coltrane’s quartet.

I should thus begin with the disclaimer that I have been unforgivably ignorant of that period in Tyner’s career. Of the ten tracks on Herwig’s album, only one was familiar to me, “Blues on the Corner,” which was one of the tracks on Al Foster’s Reflections album. That said, the tunes that Herwig selected as objects for his “latinization” drew enough of my attention to persuade me towards checking out their sources.

As always, Herwig leads his ensemble on trombone. He is joined on the front line by Craig Handy, alternating between tenor and baritone saxophones, and Alex Norris on both trumpet and flugelhorn. Rhythm is provided by pianist Bill O’Connell, Ruben Rodriguez on bass, and a pair of percussionists, Robby Ameen on a drum kit and Camilo Molina alternating between congas and bata.

All of the tracks are engagingly upbeat, and Herwig is not shy in displaying a virtuoso command of his instrument. The reflections on Tyner are probably strongest when pianist Eddie Palmieri makes a “special guest” appearance in the performance of “Walk Sprit, Talk Spirit.” He takes an opening solo cadenza, which seems to reflect on how Tyner departed from the full-hand chords that had become his “trademark” during his Coltrane period.

I clearly have much to learn about Tyner’s post-Coltrane career, and I have to say with all sincerity that I appreciate Herwig’s effort to bring this music to my attention!