Conrad Herwig's McCoy Tyner: Piano master's legacy gets Latin underpinning

Conrad Herwig, an adept veteran trombonist, has made a specialty of small-group arrangements of jazz masters in Latin-jazz stylings. "The Latin Side of McCoy Tyner" (Savant) is a fine continuation of the series, especially given that as a composer Tyner (1938-2020) created sturdy pieces with lots of momentum as well as heart.

Conrad Herwig has made Latinizing jazz classics a specialty.

Tyner's heavily accented piano style isn't obsesssively expanded to the septet Herwig heads here. The arrangements welcome the occasionally laidback nature of Latin-American music. But the impressiveness of Tyner's approach is effectively translated to a band that depends on the animated verve of Camilo Molina's conga drums. 

The traditional three-man rhythm section fits indelibly into that vibe, with a guest appearance on "Walk Spirit, Talk Spirit," by Latin-jazz piano maestro Eddie Palmieri. Much of the credit for the rhythm section's solidity goes to pianist Bill O'Connell. "African Village" is a typical example of how well-knit the rhythm section is.

The front line features the formidable talents of saxophonist Craig Handy, who can go to the outside creditably, especially in "Blues on the Corner." Handy gives a fundamental urgency to "Four by Five" when he picks up the baritone sax. On that piece, O'Connell takes a solo that represents his vigorous imagination well.

Trumpet clarity, well controlled in both soloing and ensemble duties, comes from Alex Norris. The lack of excessive display, sometimes a danger in this genre, is most welcome. Norris turns hauntingly to the flugelhorn in one track, the reflective "Search for Peace."

Herwig's playing is agile, covering a wide expanse of range and expression. His soloing is both fluttery and well-grounded  in "African Village." The arrangement is notable for precise horn writing. When the mood strikes Herwig and the other arrangers to reconstruct Tyner's original versions, the result honors the tune while at the same time isolating phrases for the horns to show off their rapport, as in one of Tyner's hits, "Passion Dance." The trombonist's dexterity is astonishing in his "Mellow Minor" solo.

Palmieri makes the most of his cameo appearance on "Walk Spirit, Talk Spirit." The piano is unaccompanied to start with, establishing the rhythmic sparkle that seems characteristic of these arrangements. Also typical is the band's preference for clear-cut endings, with the ensemble capping each rendition with well-chosen punctuation, as if to say, "How 'bout that?!"