With more than 80 albums and five Grammys, jazz pianist McCoy Tyner is a towering figure who has had a significant and lasting influence on modern jazz. From his days with John Coltrane’s Classic Quartet to a long and distinguished solo career, Tyner has established himself as one of the finest pianists of our time – in any genre. His trademark technique of effecting intense rhythmic and harmonic changes into chord voicings is today imitated by virtually every new pianist. To wittingly miss him at City Hall on Thursday 4 would be a crime against music.

You have evolved from the pianist of John Coltrane’s Classic Quartet to being one of the most innovative pianists in jazz history. How has your role changed over the years?

I don’t necessarily think my role itself has changed, only the context in which I play. John [Coltrane] was an incredible teacher for me, and he was like family. Those years playing with John, Elvin [Jones the drummer], and Jimmy [Garrison, double bass] really taught me so much and had a great influence on the musician, and person, that I have become.

One of your most elegant yet understated performances was on the now classic John Coltrane & Johnny Hartman album (1963), especially your solo on the song You’re Too Beautiful. Tell us your thoughts on that recording.

Haha. Well, I don’t recall the details of recording that specific song, however, each time I played with John there was something special going on. John was never stagnant – he was always moving forward, searching for something. Johnny Hartman had a beautiful voice. It was really great being a part of the two of them joining forces.

Of all the shows I’ve seen you play, you almost always start your set with a standard and end it with a vicious blues. What do standards and blues mean to you?

Well, I try to change up my sets each time. Keep things exciting and changing. I think standards and blues really were the foundation of this music. I know when I started playing in Philadelphia that’s what I was listening to and it became a large influence in my development. I like to bring that back into each set, and I know that audiences like it, as they still recognise many of the songs.

You collaborated with the late saxophone maestro Michael Brecker from time to time, most notably on the 1995 album Infinity on the Impulse label. What are your feelings about the loss of Brecker?

Michael was truly a beautiful person. Not just as a musician, but as a friend. He was one of the most wonderful people I’ve ever been around. Collaborating with him was a privilege. He was such an incredible musician as well. He will be missed dearly.

In Hong Kong, you’ll appear with trumpeter Christian Scott, bassist Gerald Cannon and drummer Eric Kamau Gravatt. These are relatively little known names in the jazz scene. Can you tell our readers more about them?

Well, Eric was my drummer back in the 1970s! He’s actually been around for years in the jazz scene and was, and still is, one of the best drummers out there. Gerald has been in my band for a couple years now, and really has a great feel for the instrument. Before he started playing with me, he was playing with the great Elvin Jones. Christian is really a great trumpet player. He’s still young, but he knows the music! It’s a pleasure playing with all three of these guys.

Your chord voicings are universally adopted by virtually every younger pianist. What are your thoughts on that?

I think it’s been a blessing that so many people have enjoyed and built upon the music I have made over the years. All we can do is keep on playing and do what’s in our hearts. For me, being able to play my music for people is truly a blessing, and what I live for. For the new generation, I would tell them to keep on practicing and never give up.

Henry Chung