{"id":1993,"date":"2011-05-27T00:00:13","date_gmt":"2011-05-26T22:00:13","guid":{"rendered":"http:\/\/torec.tomajazz.com\/?p=1394"},"modified":"2016-11-13T20:11:02","modified_gmt":"2016-11-13T19:11:02","slug":"tomajazz-recomienda-un-solo-mccoy-tyner-central-park-west-john-coltrane-1960","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-solo-mccoy-tyner-central-park-west-john-coltrane-1960\/","title":{"rendered":"Tomajazz recomienda&#8230; un solo: McCoy Tyner. \u00abCentral Park West\u00bb (John Coltrane, 1960)"},"content":{"rendered":"<p style=\"text-align: justify;\">\n<figure id=\"attachment_1395\" aria-describedby=\"caption-attachment-1395\" style=\"width: 150px\" class=\"wp-caption alignright\"><a href=\"http:\/\/torec.tomajazz.com\/wp-content\/uploads\/2011\/05\/johncoltranecoltranesound.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-1395\" title=\"McCoy Tyner en &quot;Central Park West&quot;. Coltrane's Sound. John Coltrane. \" src=\"http:\/\/torec.tomajazz.com\/wp-content\/uploads\/2011\/05\/johncoltranecoltranesound.jpg\" alt=\"McCoy Tyner en &quot;Central Park West&quot;. Coltrane's Sound. John Coltrane. \" width=\"150\" height=\"150\" \/><\/a><figcaption id=\"caption-attachment-1395\" class=\"wp-caption-text\">McCoy Tyner en &quot;Central Park West&quot;. Coltrane&#39;s Sound. John Coltrane. <\/figcaption><\/figure>\n<p>Los <em>Coltrane changes<\/em>, la sucesi\u00f3n de acordes que popularizara el saxofonista John Coltrane en composiciones como \u00abGiant Steps\u00bb, \u00abCountdown\u00bb o \u00ab26-2\u00bb no s\u00f3lo funcionaban sobre tiempos r\u00e1pidos, como demostr\u00f3 en 1960 en su original \u00abCentral Park West\u00bb, cuya melod\u00eda caminaba con delicadeza y brillantez.<\/p>\n<p style=\"text-align: justify;\">La prueba definitiva la aport\u00f3 el pianista McCoy Tyner, en un solo de enorme contenido l\u00edrico, lleno de arabescos y en continua b\u00fasqueda de belleza. En poco m\u00e1s de un minuto (de 1&#8217;37\u00bb a 2&#8217;40\u00bb) Tyner pone los pelos de punta al m\u00e1s pintado, eligiendo con celo las notas objetivo de sus frases y aproxim\u00e1ndolas desde el principio con efectivos tresillos que van creciendo en intensidad y duraci\u00f3n, en lo que podr\u00eda interpretarse como un gran desarrollo mot\u00edvico cuyo cl\u00edmax ocurre en 1&#8217;53\u00bb, momento en que el pianista decide cambiar de recurso y apoyarse en la propia armon\u00eda del tema.<\/p>\n<p style=\"text-align: justify;\">El segundo coro de solo comienza con una de sus frases m\u00e1s reconocibles, el momento m\u00e1s po\u00e9tico justo en la parte central de la interpretaci\u00f3n (2&#8217;09\u00bb). Arpegios ascendentes avisan del final de la improvisaci\u00f3n, en el que Tyner vuelve a centrarse en los acordes de la partitura, esta vez simplificando los respectivos <em>voicings<\/em>. El del pianista es el \u00fanico solo del tema, culminado por la sentida melod\u00eda del l\u00edder John Coltrane, en una de las grabaciones m\u00e1s brillantes de su cuarteto.<\/p>\n<p style=\"text-align: justify;\">John Coltrane &#8211; <em>Coltrane&#8217;s Sound<\/em> (Atlantic\/WEA 1419)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Los Coltrane changes, la sucesi\u00f3n de acordes que popularizara el saxofonista John Coltrane en composiciones como \u00abGiant Steps\u00bb, \u00abCountdown\u00bb o \u00ab26-2\u00bb no s\u00f3lo funcionaban sobre tiempos r\u00e1pidos, como demostr\u00f3 en 1960 en su original \u00abCentral Park West\u00bb, cuya melod\u00eda caminaba con delicadeza y brillantez. La prueba definitiva la aport\u00f3 el<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-solo-mccoy-tyner-central-park-west-john-coltrane-1960\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1001004,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17860,1295,1273],"tags":[1324,1427,1586,16099,77,16100,2302],"class_list":["entry","author-adolphus-van-tenzing","post-1993","post","type-post","status-publish","format-standard","category-adolphus-van-tenzing","category-solo","category-tomajazz-recomienda","tag-1324","tag-atlantic-records","tag-coltrane-john","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz","tag-tyner-mccoy"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":13555,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-extensions-mccoy-tyner-1970\/","url_meta":{"origin":1993,"position":0},"title":"Tomajazz recomienda\u2026 un CD: Extensions (McCoy Tyner, 1970)","author":"Adolphus van Tenzing","date":"3 noviembre, 2014","format":false,"excerpt":"Rodeado de un intenso halo de misticismo, McCoy Tyner hizo suya la sonoridad del cuarteto de John Coltrane al que \u00e9l mismo hab\u00eda pertenecido tres a\u00f1os despu\u00e9s de la muerte de su l\u00edder. Con Alice, esposa del maestro del saxof\u00f3n, al harpa, y rodeado de los saxos de Wayne Shorter\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"extensions","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/08\/extensions.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2072,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-amen-john-coltrane-1965\/","url_meta":{"origin":1993,"position":1},"title":"Tomajazz recomienda&#8230; un tema: \u00abAmen\u00bb (John Coltrane, 1965)","author":"Adolphus van Tenzing","date":"15 octubre, 2012","format":false,"excerpt":"1965 marc\u00f3 el \u00faltimo punto de inflexi\u00f3n en la carrera de John Coltrane. Tras sus \"sheets of sound\", sus \"Coltrane changes\", las sonoridades \u00e9tnicas al soprano y la \u00e9poca m\u00edstica de Crescent y A Love Supreme, el saxofonista de Carolina del Norte preparaba su inmersi\u00f3n final en el concepto libre\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/torec.tomajazz.com\/wp-content\/uploads\/2012\/10\/recomienda.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":29566,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-disco-crescent-john-coltrane-67\/","url_meta":{"origin":1993,"position":2},"title":"365 razones para amar el jazz: un disco. Crescent (John Coltrane) [67]","author":"Tomajazz","date":"8 marzo, 2017","format":false,"excerpt":"Un disco.\u00a0John Coltrane:\u00a0Crescent (Impulse!, 1964) Seleccionado por\u00a0Arturo Mora Rioja. Con John Coltrane, McCoy Tyner, Jimmy Garrison, Elvin Jones.","rel":"","context":"En \u00ab*_Arturo Mora Rioja\u00bb","block_context":{"text":"*_Arturo Mora Rioja","link":"https:\/\/tomajazz.com\/web\/category\/arturo-mora-rioja\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2017\/03\/John_Coltrane_-_Crescent_Impulse_1964-200x177.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1953,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-cosmos-john-coltrane-1965\/","url_meta":{"origin":1993,"position":3},"title":"Tomajazz Recomienda\u2026 un tema: \u201cCosmos\u201d (John Coltrane, 1965)","author":"Adolphus van Tenzing","date":"11 febrero, 2011","format":false,"excerpt":"Grabado el 30 de septiembre de 1965, Live In Seattle es un concierto en un club de la ciudad norteamericana en uno de los periodos m\u00e1s interesantes en la carrera del gran saxofonista. En diciembre de 1964 su cuarteto cl\u00e1sico grababa A Love Supreme. A finales de junio de 1965\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"\u201cCosmos\u201d. John Coltrane, Live In Seattle. 1965","src":"https:\/\/i0.wp.com\/torec.tomajazz.com\/wp-content\/uploads\/2011\/01\/coltrane_liveinseattle.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":28744,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-disco-john-coltrane-a-love-supreme-impulse-1965-22\/","url_meta":{"origin":1993,"position":4},"title":"365 razones para amar el jazz: un disco. John Coltrane: A Love Supreme (Impulse!, 1965) [22]","author":"Tomajazz","date":"22 enero, 2017","format":false,"excerpt":"365 razones para amar el jazz: un disco. John Coltrane: A Love Supreme (Impulse!, 1965) [22]","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/John-Coltrane_A-Love-Supreme_Impulse_1965-200x187.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":49581,"url":"https:\/\/tomajazz.com\/web\/mccoy-tyner-1938-2020-por-juan-f-trillo\/","url_meta":{"origin":1993,"position":5},"title":"McCoy Tyner. 1938-2020. Por Juan F. Trillo #YoMeQuedoEnCasa \/ #IStayAtHome","author":"Tomajazz","date":"10 marzo, 2020","format":false,"excerpt":"Juan F. Trillo recuerda la figura del pianista McCoy Tyner, fallecido el 6 de marzo de 2020.","rel":"","context":"En \u00abTextos\u00bb","block_context":{"text":"Textos","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/textos\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2020\/03\/1084px-McCoy_Tyner_04.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2020\/03\/1084px-McCoy_Tyner_04.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2020\/03\/1084px-McCoy_Tyner_04.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2020\/03\/1084px-McCoy_Tyner_04.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2020\/03\/1084px-McCoy_Tyner_04.jpg?resize=1050%2C600&ssl=1 3x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1993","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1001004"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=1993"}],"version-history":[{"count":1,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1993\/revisions"}],"predecessor-version":[{"id":3785,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1993\/revisions\/3785"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=1993"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=1993"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=1993"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}