my dirty little secret is that I learned by trying to imitate a piano, specifically the work of McCoy Tyner in the John Coltrane Quartet. That caught my ear and lit my flame when I was 17. I just loved what he did underneath Coltrane, so I sat with it for a long time and really tried to absorb it. Of course, Jerry was very influenced by horn players, including Coltrane, but I never really explicitly thought about that relationship, because I didn’t really ever decide to pattern myself after McCoy Tyner’s piano. It just grabbed me.But it's not such a dirty secret. In numerous interviews, Bobby cites McCoy Tyner as his primary influence, in one 1981 interview, citing Tyner's "chording, voicing and tonalities" as particularly influential.
From Art Tatum to Marty Robbins, created in the Americana cracks between the Coltrane Quartet, Bob Dylan and Bill Monroe, rising from the counterculture only to take a place among all the other wild Apple Pie slices, reincarnated every 5,000 years in a great cosmic event beyond any individual culture-- what an impossibility of causes and conditions coming together, with an astonishing array of roots and branches: "The Grateful Dead are as American as lynch mobs. America is a complex place."
Monday, February 14, 2011
McCoy Tyner
McCoy Tyner, John Coltrane's pianist in the John Coltrane Quartet, was a huge influence on Bob Weir. In a 2001 Guitar World interview, Bobby confesses:
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