Five years after the passing of John Coltrane and six years after leaving the Coltrane group to form his own band, McCoy Tyner is still frequently regarded by knowledgeable observers and novices alike as "Coltrane's pianist." There is, of course, no denying the substantial role that Tyner played in that illustrious Coltrane quartet from 1960-1966, wherein his immense, resounding chord clusters provided 'Trane with the ideal sonic launching pads.

Tyner was the all-pervasive influence on piano in the mid-Sixties and his unique approach to the left hand, his harmonic sensitivity to Coltrane's modal, scalar concept, the density of his chords and his gorgeously articulated arpeggios are indigenous to the work of current pianists such as Lonnie Liston Smith and John Coltrane's widow, Alice.

McCoy Tyner continues to make music in the Coltrane tradition, leading a recently-formed quartet that utilizes the modal style and the churning 6/8 rhythms that came to full fruition on Coltrane's Impulse LP Coltrane. The group features reedman Sonny Fortune, who is in the process of discovering exactly who he is musically and should soon do so with distinctive results; bassist Calvin Hill, who anchors the band with the sort of virility and economy that Jimmy Garrison did with Coltrane; and drummer Alphonze Mouzon, who despite some remonstrations from a few critics and listeners that he plays "too loud" (doesn't it seem that many notable modern drummers, from Philly Joe to Elvin Jones to Tony Williams have been similarly accused?) is a fiery wonder throughout.

The music itself might have been produced a half-decade ago, which diminishes its impact, intensity and, finally, great beauty not a whit. There are moments during "Ebony Queen," with McCoy's ostinato figure providing the basis of the tune, in which the music seems on the verge of levitating itself off the turntable and into the beyond.

Fortune's soprano saxophone on the extended title composition, not as nasal as Coltrane's tone or quite as liquid as Wayne Shorter's, delivers a soliloquy that shows great control of tone, dynamic and rhythmic variegation and a sense of the dramatic. And Mouzon!! Add his name to the list of new poets of the drum, with Billy Cobham, Woody Theus, Eric Gravatt and Clifford Jarvis.

As for McCoy's pianistic contribution, he has rarely sounded better, which, in light of all the transcendent music he has given us over the past ten years, is no mean feat. His unaccompanied solo on "A Prayer for My Family" shows the decidedly orchestral colors and textures that he draws from the grand piano. His coordinated independence with his two hands is at times so startling that one is not quite certain if overdubbing has been employed or if possibly it is a piece for four hands.

In this day of the ubiquitous electric piano it is entirely refreshing and uplifting to know that McCoy Tyner elects to speak to us through the medium of the acoustic instrument. It is of no consequence that Sahara is in no way indicative of the shape of jazz to come. It is 48 minutes of beautiful music. (RS 119)

JAMES ISAACS