In the group with John [Coltrane], we were always able to give each other inspiration," McCoy Tyner told Len Lyons recently, "but it's hard to find a setting like that. Now I have to do it all myself." The pianist has pinpointed his current impasse, which Focal Point reflects.

Tyner spent more than five years in the working company of Coltrane and drummer Elvin Jones. As the most formidable contemporary musician creating in the Coltrane Quartet tradition, he remains committed to expanding that tradition, yet his group can only repeat the by-now familiar style. This situation, evident even in Tyner's finest Milestone recordings, has become more critical with his new band. Eric Gravatt drums forcefully, occasionally a bit stiffly but ever so predictably, and the twin Coltrane images presented by Joe Ford and Ron Bridgewater prove less impressive than Azar Lawrence's earlier reproductions.

As usual, Tyner works hard to bring something new to the recording. Overdubbed horn arrangements produce mixed results: the sonic and melodic weave of clarinet, flutes and tenor saxophone is inspired on "Indo-Serenade," while "Mes Trois Fils" seems spliced together. Tyner plays dulcimer on one piece, but this is a limiting alternative—he can say so much more on piano.

There are moments of inspired playing, from Bridgewater and guest saxophonist Gary Bartz as well as the leader. Tyner's dense strength is best captured on "Indo-Serenade" and "Parody"; elsewhere, the bruising chords and darting arpeggios convey the perfunctory familiarity that continues to plague his compositions.

Focal Point, true to Tyner's music of the past few years, is probably the right kind of album to follow last spring's Fly with the Wind; for his many new listeners, it may be the most intense musical experience of the season. In light of his past achievements, however, this session is best described as uninspired. (RS 235)

BOB BLUMENTHAL