My introduction to McCoy Tyner’s Song for My Lady was brief but indelible.
My brother and I visited Jelly’s Comics and Music back in the late 1980s, and Song for My Lady was playing on the in-store PA. It was a particularly noisy part of the album, where Tyner sounded as if he was just pounding his fists on the piano.
My brother hated it. I absolutely dug it.
I was still in my infancy when it came to exploring atonal and dissonant music, and I had no clue about jazz history beyond the swing era repertoire offered in school.
I heard a crash of notes akin to what Kronos Quartet had introduced me, and I made sure to note the title and artist of the album playing that day. I vowed to pick it up eventually.
It took 30 years.
Jive Time Records held its anniversary sale, and the store had a used vinyl copy of Song for My Lady in stock. I hadn’t thought about the album in all that time, but I had to sate my curiosity.
Is it as noisy as I remember it to be? Just about.
I’ve had 30 years to be exposed to all manner of noisy music, and Song for My Lady falls a bit more on the tuneful side of John Coltrane’s Interstellar Space. It’s a rambunctious album and a far cry from the only other Tyner album in my collection, The Real McCoy.
I wonder if the engineer who programmed the ring of my apartment intercom listened to this album. There’s a sax trill on the title track which is a timbral and tonal match to that ring. The first time I heard it, I nearly got up to answer the intercom.
I’m still a novice when it comes to thinking critically about jazz, and according to reviews, Song for My Lady is one of Tyner’s best albums. The clerk at Jive Time who rung me up commented that it was one of his most underrated.
I believe it.
Song for My Lady doesn’t seem to come up in very many recommendation lists, which is a shame. This album is wild and energetic, but if my brother’s reaction is any indication, may a bit much so.