Larry Coryell

Often called "The Godfather of [Jazz-Rock] Fusion" for his early explorations of "boundary-less" experimentations with the fusion of various (and often unpredictable) musical styles, Larry Coryell picked up the guitar while growing up in rural Washington state in the 1950s, one of his talents, in my observation, is in his ability (or was it a penchant?) to try out other people's styles in both guitar playing style and sound palette but perhaps moreso in his compositional styles. He feels very much like a "chameleon" in that way.

     Larry's busy discography as a bandleader pales in comparison to his stage and studio appearances with other notable musicians of the time; I would not be surprised to hear that nary a day (or night) could pass without Larry sitting in with some other band or soloist. Such was the insatiable curiosity--the desire to always test himself and to experience (and try to match or reflect) the energies and wisdoms of other artists. Thus, when perusing Larry's discography--other than a long-time collaborative friendship with keyboard artist, Mike Mandel--it becomes obvious that he rarely stuck to one style and sound, that he was always seeking new experiences, new influences and inspirations, and that much of this new input was achieved through a never-ending revolving door of collaborators.

     How much of Larry's first 20 years in the music industry was affected (or impeded) by his need to get drunk or high after each performance is a question for the ages. When reflecting on his "peak" performance in 1981 on stage as part of an acoustic guitar trio with John McLaughlin and Paco De Lucia (captured live on video as McLaughlin, DeLucia & Coryell: Meeting of the Spirits), Larry stated that, “Alcoholics can’t stand success, and at that time I was doing everything I could to sabotage things with my drinking.” Since going into rehab soon after--and never partaking in drugs or alcohol since--Larry remained steadfastly devoted to Nichiren Buddhism, becoming an avid and life-long practitioner of its specific form of chanting. Listening to his music and performances in those 30+ years of sobriety, one can only conjecture at what "might have been." In the meantime, we do have quite a record of Larry's recorded art: much of which has contribute significantly to the revolution that was, and evolution of, Jazz-Rock Fusion.

LARRY CORYELL Lady Coryell (1968)

The first release of Larry's material as a solo artist/bandleader. The album puts on display not only his roots, but some of his dreams for where he'd like to try to take music. It also lets people know that here we have a very talented musician/guitarist. 

Line-up / Musicians:
- Larry Coryell / guitar, bass, vocals, co-producer
With:
- Jimmy Garrison / bass (7)
- Bob Moses / drums
- Elvin Jones / drums (7,9)

1. Herman Wright (3:21) blues rock built around a "House of the Rising Sun"-like style but with more Terry Kath-like vocals and a track (L) devoted entirely to Larry's fuzzed-up guitar and another (R) that appears in the last minute without the fuzz effect. Not a great song but interesting from an historical perspective. (8.6667/10)

2. "Sunday Telephone" (2:28) a Hendrix-like sound palette with lots of wah-wah lead guitar over which Larry sings with a Gregg Allman-like "Midnight Rider" voice. Not bad! (8.875/10) 

3. "Two Minute Classical" (2:08) a full-band instrumental that sounds like a kind of a blend of The Who and The Beatles worked off a mathematical arrangement. Nice guitar performances on multiple tracks.  (4.625/5)

4." Love Child Is Coming Home" (2:30) here Larry seems to be trying out Bob Dylan. (4.375/5)

5. "Lady Coryell" (6:31) a full band instrumental psychedelic trip into Larry's sex life: a musical expression of a love making episode with his wife. Did Larry help birth "Southern Rock"? Again, lots of tracks devoted to various guitar styles and sounds here--including one that sounds very much like a sitar (!?) (8.875/10)

6. "The Dream Thing" (2:35) this one sounds like an excursion into the history of the electric guitar with Larry using some genius chord progressions in his three tracks of guitar over drums and bass. I like this one very much: you can really feel Larry's genius for guitar jazz. (9.125/10)

7. "Treats Style" (5:42) like being in the bar for a blues-jazz performance--all instrumental, walking bass line, single line of guitar play. Very nice--and nicely recorded and mixed. When he ramps up both his intensity and clarity/precision at the end of the third minute it's almost as if another guitarist has stepped on stage for a solo turn. (The voices in the background throughout make me think of Buddy Guy.) (9/10)

8. "You Don't Know What Love Is" (2:35) acoustic guitar supporting Larry's plaintive lead--sounding here a bit like Chet Atkins (from a mastery of the melody play--excepting the fact that Chet would play both parts on one guitar, in one track, in one take.) Well done. And pretty! (9/10) 

9. "Stiff Neck" (7:12) jazzy R&B drums from Elvin Jones with a jazz- and rock-directed electric guitar playing solo over the top. Elvin is so precise--despite being so syncopated--that his playing sounds as if it were digitally looped. Larry's free-form play, relying on his sound effects as much as his playing dexterity, in the sixth and seventh lends itself toward a psychedelic categorization bordering on that which would become called "heavy metal."  (13.25/15) 

10. "Cleo's Mood" (4:24) a blues rocker with a great blues "hook" and multiple layers of guitars wailing away over the bass and hand drums. Like a room of hungry cats all impatiently decrying the tardiness of their meal. (8.875/10)

Total Time 39:26

89.12 on the Fishscales = B/four stars; an excellent and very solid display of early, or proto-jazz-rock fusion from one of J-R F's earliest and future stars. 

LARRY CORYELL Basics (Recorded in 1968 and 1969; released in 1976.)

Though not released until 1976, the songs collected and packaged here were recorded in sessions that happened in 1968 and 1969. The music here is predominantly blues and blues-rock with very little Jazz-Rock Fusion

Line-up / Musicians:
- Larry Coryell / guitar, vocals
With:
- Michael Mandel / organ
- Ron Carter / electric bass
- Chuck Rainey / electric bass
- Bernard Purdie / drums
- Steve Haas / drums
- Ray Mantilla / percussion
- uncredited / saxophone (1,7)

1. "Call to the Higher Consciousness" (5:17) a very basic blues rock song constructed from a very basic blues chord progression. Larry, an oddly uncredited saxophone soloist, and congas take turns playing over the basic blues rhythm track as provided by front-mixed bass, drums, Ray Mantilla's percussion play, and Mike Mandel's distant organ. Sounds like a garage practice session for a new high school "band" of 16-year olds (albeit, gifted 16-year olds). No disrespect to Larry, but Ray is the only one here on this recording that sounds like he's on a professional level. (8.66667/10)

2. "Slow Blues" (4:22) pure blues. Some top notch blues guitar play from the bandleader--and I've seen/heard a lot of the greats! And pretty well recorded (as opposed to song #1). A solid blues song with some praise-worthy lead guitar work. (9/10)

3. "Friday Night" (2:22) more blues rock, this time with a little more Swamp fell and a lot more Buddy Guy-like rock orientation to it. I can hear quite a bit of Stevie Ray Vaughn in this one. Great bass and drum play from Chuck and Bernard. (I'm assuming.) (4.75/5)

4. "Half a Heart" (3:30) a SANTANA-like song that has a melody to hook onto as well as some mature structure with multifarious chord sophisticated progressions and more stunning lead guitar work (though much more rock-oriented on this one) and vocals! In the second half of the second minute. (He's got a really good voice!) Is this the song that spawned Becker and Fagen's "Do It Again"? Sure sounds like it!   (9.33333/10)

5. "Sex" (4:32) a rock-sided blues rock tune with a looseness that reminds me of a Stevie Winwood song. Great percussion and bass work while Larry wows us yet again with his ROGER McGUINN/Byrds-like/inspired 12-string lead guitar work. (9.25/10)

6. "Tyrone" (3:00) Larry covering a Larry Young composition with the same lineup and sound palette as the previous song. There is a little "Walk on the Wild Side" feel coming from the bass players lines. Nice solid team of drums and congas behind Larry's impressive guitar phrasing and skills. (8.875/10)

7. "Jam with Albert" (2:55) could the uncredited saxophone player on songs 1 & 7 be none-other than ground-breaking musician Albert Ayler--a man who would be dead within two years of these recording sessions (at the ripe young age of 34)? Given Larry's ubiquitous and fearless full immersion into the New York City music scene since his arrival in 1965 my hypothesis would not be a far stretch--and with the way the musical performances unfold on this song, I would not put it past the two, either. Nice rock song that feels and sounds like something that could've come off of a Jeff Beck album of the same time (Larry is really cooking on that rock guitar--and the rhythm trio [bass, drums, and congas] are incredibly tight!) (8.875/10)

8. "Organ Blues" (5:19) the only song on the album in which an organ plays a significant role, the interplay between Larry and Mike Mandel feels very loose and comfortable: both very mutually respectful and supportive. (This song represents the birth of a long and very industrious collaborative relationship for the two.) Otherwise a very standard-sounding blues song--one that sounds as common as an I-IV-V or I-VI-IV-V progression is in rock music. (8.875/10)

Total Time 31:17

I don't know if the music on this album is ordered in chronological order according to when they were first recorded , but they almost play out like that: simplest first, most sophisticated/mature toward the end. Most all of my individual song ratings are higher than my musical tastes would have predicted. This is due to the fact of nice sound recording, great instrumental performances--especially from the often-jaw-dropping play of one Lorenz Albert Van DeLinder III (aka Larry Coryell).

90.167 on the Fishscales = A-/five stars;a minor masterpiece of Blues Rock that might very well also be considered an example of proto-jazz-rock fusion--certainly an astonishing display of guitar pyrotechnics: each song a master class unto itself. HIGHLY recommended to any fan of the evolution of the electric guitar and for any fan of the highest caliber guitarists who ever wielded an axe.

LARRY CORYELL Coryell (1969)

An album that demonstrates the early growth and experimentation of innovative "Godfather" of Jazz-Rock Fusion, Larry Coryell.  

Line-up / Musicians:
- Larry Coryell / guitar, piano (2), electric piano (7), vocals
With:
- Mike Mandel / organ, piano (4)
- Jim Pepper / flute
- Chuck Rainey / bass (1,4-6)
- Ron Carter / double bass (2,7)
- Albert Stinson / double bass (3,5)
- Bernard Purdie / drums

1. "Sex" (3:51) a very different version than the one that ended up on the Basics album. More like something Larry and his FREE SPIRITS might have done in their live concerts. I appreciate the energy and rudimentary GRAND FUNK RAILROAD rock foundation, the enthusiastic vocals, and the 1960s guitar sound used on the solo. (8.875/10)

2. "Beautiful Woman" (4:32) a nice stream-of-consciousness tune that sounds like something the Canterbury dudes would have done--like in the Uriel/Arzachel or Wilde Flowers eras--or early John Sebastian or Joe Cocker.. The performances are still great. (8.75/10)

3. "The Jam with Albert" (9:20) not the same as the version recorded with the mystery (uncredited) saxophone player that ended up on the 1976 Basics even though it was recorded in 1968 or 69. The single guitar is played in a very aggressive fashion that is more like the style of Buddy Guy (or Stevie Ray Vaughn) than Albert Collins or Albert King. (My theory of who the mysterious "Albert" was included saxophone legend Albert Ayler because A) the original recorded version of this was a duet between Larry's guitar and a saxophone, B) Ayler was a NYC phenom that Larry almost certainly would have come in contact with being the music hound that he was ever since his arrival in that city in 1965, and C) Mr. Ayler died in 1970--which might have made Larry sensitive about publishing it (until he finally did in 1976). It's an okay song; great rhythm section holding down the low end while Larry shreds but nine minutes of Hendrix-like shredding without break or counterpoint is a bit much. (17.5/20)

4. "Elementary Guitar Solo# 5" (6:49) opens sounding like something coming from Chet Atkins, Roy Clark, or Glen Campbell before going turning to the territory of THE BAND or JIMI HENDRIX (or future Stevie Ray Vaughn) at 1:05. This jam goes on til about the sixth minute when Mike Mandel's organ and a second guitar join in to accent Larry's Hendrix-like guitar play. (13.125/15)

5. "No One Really Knows" (5:07) composed and arranged like a classic Sixties pop song. Larry's pleasant voice reminds me a bit of MICHAEL FRANKS. (I really like both!) At 1:18 I am surprised to hear it take a sharp right into funky town with Chuck Rainey and Bernard Purdie laying down some awesome MOTOWN-like chops while a track of Larry's rhythm guitar supports his own HENDRIX-like soloing with the wailing lead guitar up front. Surprisingly melodic in all its parts. I really like both motifs. A top three song for me. (9.25/10)

6. "Morning Sickness" (5:20) I love how much of Larry Coryell's compositions (especially on his solo albums) are inspired by or titled for his wife and family. This one is spacious yet funky, feeling like something that SLY & THE FAMILY STONE, BLUE CHEER, 13TH FLOOR ELEVATORS, War, or Azteca might do. It's not bad, just dated. (8.75/10)

7. "Ah Wuv Ooh" (4:22) a quintessential 1960s flower-power rock song with flute, gentle and melodic guitar chord progression. Ron Carter and Bernard Purdie feel a little out of sync with each other. I kept expecting singing/lyrics but instead get multiple lead electric guitar tracks. (8.75/10) 

Total Time 39:21

88.82 on the Fishscales = B/four stars; an excellent view into the early development of one of Jazz-Rock Fusion's most blues-rockinest guitar virtuosi. Fun listen. Plus, I really do love Larry's singing voice!

LARRY CORYELL Spaces (1970)

Recorded in March of 1969, guest artists John McLaughlin, Billy Cobham, and Chick Corea were coming straight out of the February 18 recording sessions with Miles Davis for would become the album In a Silent Way. Larry is quoted as saying that it took a whole day of recording for his guests to 'come back down to earth' in order to play his compositions as he set forth. Consequently, none of the music recorded from Day One ended up being used on the published album.

Line-up / Musicians:
- Larry Coryell / electric & acoustic guitars
With:
- John McLaughlin / electric & acoustic guitars
- Chick Corea / electric piano (5)
- Miroslav Vitous / double bass
- Billy Cobham / drums
- René Thomas / guitar (2)

1. "Spaces (Infinite)" (9:16) Miroslav Vitous' bowed double bass is a nice presence during the opening 90-seconds but then he falls into fast picking as the song congeals and takes off at full speed at the end of the second minute. Larry takes the first extended solo of this composition credited to Julie Coryell (Larry's wife). John's unique support work on rhythm guitar is an example of one of the things that, for me, sets him apart from all other guitarists, and Billy and Miroslav are definitely on the same high-powered wavelength despite the more traditional jazz form Larry is wanting. Still, John and Larry seem to be having fun playing around and off of each other. (No wonder the first incarnation of the famous Guitar Trio with John and Paco De Lucia would include Larry before Al Di Meola was ever considered). There are definitely many beautiful melody ideas presented here as well as some very exciting dynamic play during the middle or second of the three very nicely composed motifs Julie and Larry have crafted together. (18.75/20)

2. "Rene's Theme" (4:06) an acoustic guitar duet between Larry and Belgian guitarist and Django Reinhardt devotee, René Thomas. You'd almost swear that it was, in fact, Django there in the room with Larry! (8.875/10)

3. "Gloria's Step" (4:29) double bass player Miroslav Vitous' bowed and unbowed playing are the highlights of this cover of a Scot LaFaro song made famous by Bill Evans's original Trio with his Live and the Village Vanguard sessions back in 1959 and 1960 (a song that is familiar to the listener because it has since become an ageless jazz standard). I also love Billy Cobham's exquisite work on the cymbals. (8.875/10)

4. "Wrong Is Right" (9:00) Larry, John, and Miroslav trade solos on this Django-paced jazz piece. Billy and John's more dynamically-varied playing definitely seem as they are coming from a different universe than that of Larry's. There are, however, some really nice melodies central to Larry's song that the band carries very faithfully. Also, I just love the pristine sound clarity of this one--not to mention the astonishing skill and spontaneity coming from all four of the band collaborators. (18.75/20)

5. "Chris" (9:31) like the opening song, this is a composition coming from Larry's wife, Julie. The addition of Chick Corea's electric piano is a wonderful effect to Larry's music, definitely smoothing and broadening the sound palette, taking a bit of the edge off of Larry's sometimes-abrasive jazz guitar sound and style. You might even say it offers the music (rightfully so, since it is listed as a composition of Larry's wife, Julie) a softer, more-feminine side. The subdued and rather laid-back restraint of the other three band members' performances while Larry is in the lead is not only noticeable but admirable--even remarkable. When Miroslav and John do get their turns at the front, they are still surprisingly soft and jazzy. (John almost lets himself go full Mahavishnu for a brief second in the final minute--with Billy quickly jumping on board with him--but then quickly pulls himself back in to conformity with Larry's expectations. (18/20)

6. "New Year's Day in LA, 1968" (0:20) an excerpt of electric guitar and bass taken from a concert from the year before. I'm not sure why.

Total Time 36:42

Not the jazz-rock fusion masterpiece I was expecting, the "Godfather of Fusion" seems very much grounded still in the forms, sounds, and traditions of hard-bop and gypsy jazz more than the rock-infused idiom that he had helped to launch a few years before. But the collaboration with four other musicians who were each very much caught up in the movement to inject the explosive volume and abandon of Led Zeppelin-like Power Rock into their music is just enough to sway the music of three of the album's song (the three long compositions) over into the realms of forward-moving Jazz-Rock Fusion. Who knows the effect these recording sessions had on John McLaughlin, Billy Cobham, Miroslav Vitous, or Chick Corea, but their next projects would include Tony Williams' Lifetime,
     I do not know the reason for the extraordinary delay in time between the March 1969 recording sessions of this album and its November 1970 release, but both dates fall into the still-early days of the Jazz-Rock Fusion explosion--and settle well before the first releases of The Mahavishnu Orchestra (Aug. 14, 1971 and released Nevember 3, 1971), Weather Report (Recorded Feb. 16 & March 17 and released on May 12, 1971) or Chick Corea's Return to Forever (February 2 & 3, 1972, released in September).

90.94 on the Fishscales = A-/five stars; a minor masterpiece of early Jazz-Rock Fusion.

P.S. The two album covers are both legitimate covers from early 1970s. The brown cover with Larry's profile coincides with Vanguard Records' original 1970 release whereas the cool space-art cover is from the label's 1974 re-release of the same album.

LARRY CORYELL Barefoot Boy (1971)

The Godfather of Jazz-Rock pumps out his fourth album as band leader and principal composer since the failed super nova that was The Free Spirits. 

Line-up / Musicians:
- Larry Coryell / guitar
With:
- Steve Marcus / soprano (1,2) & tenor (3) saxophones
- Michael Mandel / piano (3)
- Mervin Bronson / bass
- Roy Haynes / drums
- Lawrence Killian / congas
- Harry Wilkinson / percussion

1. "Gypsy Queen" (11:50) melodic soprano sax leads the cohesive band through the jungle while sherpas Mervin Bronson, Larry Coryell, and machete-wielding drummer Roy Haynes and percussionists Larry Killian and Harry Wilkinson negotiate with any intruders or inhibitors to the band's progress on their self-pioneered pathway. In the fifth minute Larry Coryell uses his guitar to fight off a barrage of monkeys or giant mosquitos. Crazy experimental sounds and engineering techniques used throughout this section sounding at times like Godzilla on a rampage--or perhaps some of his radiation-mutated friends. In the ninth minute Larry returns to support while Steve Marcus returns with his sax and the tempo slows down a bit (or at least becomes variable). I am always pleasantly surprised to hear Larry Coryell play the supporting role to the solos of others cuz I'm never sure what he's going to do; here he strums loudly using his wah-wah-monster effect, never backing down on his volume, re-usurping his lead role in the tenth minute for a bit before giving some shine to his drummer and percussionists. There's nothing so shocking or innovative here but it is a damn fine, eminently-listenable song. (22.5/25)

2. "The Great Escape" (8:39) the bass, guitar, and even rhythm section here is mired in some blues-rock with Larry himself playing something akin to Louisiana swamp guitar. The percussionists keep it real, though--keep the music anchored in urban life--and then saxophone player Steve Marcus tries to solidify the jazz roots of the song with some nice Charlie Parker-like playing--with Larry standing on the sidelines in silence. Much better. When Larry returns near the seven-minute mark it is with some nice rock/R&B effects and some very-precisely-nuanced playing--almost like one of the genius virtuosi from the Motown stable. I like the second half of this very much, not so much the first. (17.75/20)

3. "Call to Higher Consciousness " (20:00) a very pacifying four-chord motif for minutes (with Michael Mandel on piano) over which Steve Marcus' tenor saxophone solos beautifully, emotionally, over the first five minutes. Then Larry takes his turn, throwing his darts rapid-fire for the next two and a half minutes before giving up the spotlight for the next two minutes to Mandel's ivory tickling. Mervin Bronson and the percussionists below remain quite committed to their sedating beat until 9:40 when everybody clears out for a Roy Haynes solo. I'm sorry but I've just got to say it: this solo is just incongruous--it just doesn't seem to fit the mellow, relaxing, meditative mood the title and previous ten minutes would suggest. At 13:30 it's over and the rest of the band charges onto the scene with a series of forceful blues-rock bursts that seem like they're signaling the end but no! Bassist Mervin Bronson and Michael Mandel's piano set up another motif to groove into--this one a little more jazz-rock like something by Brian Auger with a now-bass four chord progression and competing soloing going on by not only Marcus and Coryell but Roy Haynes as well. In the 18th minute Larry switches to full-on rock 'n' roll: heavily distorted power chords, but then he backs off and plays some extraordinary delicate lead machine gun riffs and runs as the rest of the band supports as gently as they did in the first nine minutes. Awesome slow, unravelling finish. As with all multi-part suites, this one is a tough one to assign a single number rating to. Aside from the disruption of the drum solo, this is really an excellent song with wonderful performances of a fairly simple yet-effective composition. (36.75/40)

Total Time 40:29

I really like Larry's exposition of distinctly different styles on this album but more I love (and greatly respect) his restraint--especially in second and third songs but also on the supporting role he plays for over half of the opening song. Several of his solos are more concise and controlled--less rambling than he can sometimes do--and yet there are those frenzied ramblers as well (especially when he's experimenting).   

90.59 on the Fishscales = A-/five stars; a minor masterpiece of various and some experimental styles of early jazz-rock and fringe jazz-rock fusion. There is some really nice music here with some very enjoyable solos. Even Larry's experimentation with sound and style are interesting and often astonishing. I can see why this album is a favorite with many other listeners/reviewers. 

LARRY CORYELL Offering (1972)

Guitar god and "Godfather of Jazz-Rock Fusion" Larry Coryell's second foray into the studio with the same four musicians, including keyboard player Mike Mandel--the only member of this quintet that will be invited to become a part of the Eleventh House supergroup.

Line-up / Musicians:
- Larry Coryell / guitar
With:
- Mike Mandel / electric piano with fuzz-wah
- Steve Marcus / soprano saxophone
- Mervin Bronson / bass
- Harry Wilkinson / drums

1. "Foreplay" (8:10) on this Coryell composition, Fender Rhodes player Mike Mandel provides a BRIAN AUGER-like support to Larry's musical machinations. Drummer Harry Wilkinson is quite adept at adding his own flourishes and nuances while bass player Mervin Bronson, like Mandel, sticks pretty close to the script. Saxophonist Steve Marcus is nowhere to be heard. Very nice play from all of the instrumentalists but the five chord rising progression gets a little exhausting after a while--(kind of like foreplay), but Man! can Larry Coryell move at some blistering speeds! (13.5/15)

2. "Ruminations" (4:17) Sax, guitar, and keys lead the way with rather complex arpeggio melody play of a four chord sequence on this Mike Mandel composition until the one minute mark when everything switches direction: moving down a smoother, more harmonically-horizontal chord sequence (at a rather breakneck pace) that sounds more oriented traditional jazz despite the active Herbie HANCOCK-like Fender Rhodes piano. Steve Marcus' soprano saxophone definitely does his best to match/keep up with Larry's incendiary electric guitar keys, usually going back and forth but often overlapping each other as if racing toward an end--and end that coincidentally arrives at 3:45 when the band switch back into a more modal style like the opening (though not quite the opening). The song then is given the engineer's fade to bring it to a close despite the musicians' continued play. This is definitely a song that helps illustrate why Larry Coryell is given so much credit for launching and test-driving the fusion of rock into jazz music. (9/10)

3. "Scotland I" (6:41) another ascending theme, this time from bass player Mervin Bronson, repeating the same six note climb over and over while saxophone, guitar, and drums go crazy all at the same time. The fifth minute is my favorite part when all of the melody instruments team up to spit out a supersonic melody line between each of Mervin's ascents. Despite the fullness of this soundscape, Larry and Steve continue firing impressive solo flourishes and runs over the cacophonous weave going on around them (obviously using second tracks for their additional sound contributions). All in all, this is a very mathematically-committed song that I'm not sure I really like--this despite the very impressive technical skills on display. Chris Squire's "Hold Out Your Hand" is quite reminiscent of this. (8.875/10)

4. "Offering" (6:46) a song that is credited to drummer Harry Wilkinson (despite my hopes that it would tie into the song of the same title from John Coltrane's final album, Expression, as it is a favorite of mine). The song is set up with a winning and infectious bass line that sounds quite a bit like Chicago's Peter Cetera's play on the band's 1969 debut album, Chicago Transit Authority. The bass is coupled with some very impressive Billy Cobham-like play from drummer Harry Wilkinson. From there the song resembles something like FOCUS' "Answers? Questions! Questions? Answers!" or "Anonymous Two" (from their 1973 release, Focus III) in the way that the guitar, saxophone, and keyboards all seem to launch into their own separate universes for long, continuous (and very impressive) soloing over the busy-yet-hypnotic play of the rhythm section. I don't know if it's the infectious rhythm section or the tasteful weave of multiple soloists all playing rather melodically at the same time, but I love this song. It's my favorite on this album. Definitely an example of a rock song played by rock musicians who are trying out their jazzy chops. From start to finish this song just feels like a treasure trove that is constantly revealing new things with each and every listen. (14.5/15)

5. "The Meditation of November 8th" (5:12) a spacious, contemplative song of reverb-treated soprano saxophone, electric guitar, electric bass, and metallic percussives all played with feeling and thoughtful emotion in a way that previews (or reflects) the works of Terje Rypdal, Jan Garbarek, and Pat Metheny. Very nice and sympathetic--not unlike some of the works of the early electric guitar masters of the 1960s. Perhaps this song is even intended as an homage to one such musician (someone who died on November 8th)? I've seen that some reviewers have called this song "boring" or "slow" and "hard to get into" but I find myself responding quite oppositely: I love the space that the band allows me--space to get inside and look at the sounds and notes and harmonies from multiple perspectives. I like this one very much. My second favorite song on the album. (9.33333/10)

6. "Beggar's Chant" (8:03) a bluesy foundation leads to some very bluesy playing from all of the instrumentalists. Man! These guys are so professional--and so proficient. There is quite a John Tropea/Jay Berliner-like DEODATO "Also Sprach Zarathustra" sound to Larry's guitar playing on this one (my least favorite sound and solo on the long 9-minute album version of the song). Definitely my least favorite song on the album and yet it's still damn good! (13.25/15)

Total Time 39:09

An album whose musicianship has little to no fault, whose intricately constructed and performed songs all rival anything that Herbie, Mahavishnu, or Chick Corea's Return To Forever ever put together, but, somehow, still feels as if could be better. Impressive keyboard player Mike Mandel seems at times to fade into the woodwork or wallpaper while guitarist Larry Coryell and soprano saxophonist Steve Marcus's explosive soloing styles (and sounds) have never been among my favorites, yet here, on Offering, I find myself deeply engaged and excited/willing to re-listen to each and every song multiple times: there's just this feeling that there is so much more to discover within the dense and complex weaves of each song. A big question I have is: Why are drummer Harry Wilkinson and bass player Mervin Bronson never mentioned in the conversations of great Jazz-Rock Fusion musicians?

A-/five stars; not only does this work out analytically as a masterpiece of Jazz-Rock Fusion, it feels like one! HIGHLY recommended--especially to any of you progsters that have never really gotten into Larry Coryell.

THE ELEVENTH HOUSE Introducing The Eleventh House with Larry Coryell (1974)

With 1969's Spaces (released, mysteriously, some 19 months after it was recorded), it felt as if guitarist Larry Coryell might have been a little reluctant to jump fully on board the Power Rock infusion of the Jazz-Rock Fusion movement, but then I'm sure he could see the commercial, critical, and financial success his band mates from that album were having: John McLaughlin and Billy Cobham with the Mahavishnu Orchestra, Miroslav Vitous with Weather Report, and Chick Corea with his Return To Forever project. 

Tapping into some of his more adventurous New York City-based friends, this was what he came up with. Though recorded in 1973 at Vanguard's 23rd Street Studio in New York City, Larry's loyal label did not release Introducing The Eleventh House with Larry Coryell until February of 1974.

Line-up / Musicians:
- Larry Coryell / guitar
- Randy Brecker / trumpet 
- Mike Mandel / piano, ARP synth
- Danny Trifan / bass
- Alphonse Mouzon / percussion

1. "Birdfingers" (3:07) Alphonse Mouzon gets us started, showing off a little of his skills before the song's swirling melody lines are launched by Larry Coryell and Randy Brecker and, later, Mike Mandel. Man! These guys are all moving!--especially the afore-mentioned trio. Great opener putting it all out there! (9.75/10)

2. "The Funky Waltz" (5:10) using a "Papa Was a Rolling Stone"-like bass and cymbal foundation the synth, trumpet and electric guitar lines established over the top are nice though the weird "fireworks"-like synth flares are pretty annoying. Larry's mute/wah-affected solos in the second and third minutes have the sound that is similar to that of the pedal steel that I hear from Steely Dan guitarist Jeff "Skunk" Baxter on Can't Buy a Thrill or the horns from the Pretzel Logic album. (8.66667/10)

3. "Low-Lee-Tah" (4:17) opening with a reverbed guitar arpeggio display similar to something we all heard on the Mahavishnu albums. The rest of the band slowly joins in, not yet shifting the tempo into anything above first gear but maintaining a great atmosphere of potential energy. Randy Brecker takes the first solo. I wish they had mixed him better: more a part of the song instead of feeling outside of the others. Larry takes the next solo using lots of bending of notes on the fretboards like John McLaughlin does with his special scooped frets for his Indian music. Pretty cool but not perfect. (9/10)

4. "Adam Smasher" (4:30) A bit of a Steely Dan sound to this one with the funk bass and drums and clavinet. Mike Mandel's Fender Rhodes takes the first solo sounding like the next Bob James generation of the Herbie/Chick sound. Randy's solo is interesting for his virtuosic use of the muting device. Larry's solo is next: he's using a wah-pedal/device that gives another shape and sound to his dextrous guitar play. (It almost sounds like the talkbox tube made famous by Peter Frampton.) (8.875/10)

5. "Joy Ride" (6:08) more laid back music that allows more space for the musicians to be heard and appreciated. During the first two minutes as the band establishes the foundations and framework of the song, Larry's guitar playing sounds almost like he's playing an acoustic: so smooth and fluid. Later he gets more aggressive and fiery in his particular way. The keys are particularly noticeable throughout, feeling something between Herbie Hancock and Bob James. I like the picking up of the pace in the fifth minute for the duelling between Larry and the wah-effected ARP and trumpet. Overall, another song that is perhaps a little too simple in its basic construct: like having white bread when you want wheat or rye. (8.75/10)

6. "Yin" (6:03) more power jazz-rock fusion that seems to be trying to sound like Billy-Cobham led Mahavishnu music. I like Larry's abrasive rhythm guitar while supporting Randy Brecker's great first solo. His solo in the third minute over the high-speed rhythm track below is awesome--as is the hard-driving work of bassist Danny Trifan and drummer Mouzon. Perhaps the best song on the album. Randy, Alphonse, and Danny are extraordinary. (9.75/10)

7. "Theme for a Dream" (3:26) slow and dreamy with a bit of a feel of an interlude song from a Broadway musical. The kind of musical landscape that spawned the Easy Listening and Smooth Jazz genres of music. Larry's muted and effected guitar sounds a lot like the virtuosic background guitar play of Steely Dan's great guitarists like Larry Carlton, Jay Graydon, Dean Parks, Hugh McCracken, and Lee Ritenour.  It's pretty! (8.875/10)

8. "Gratitude 'A So Low'" (3:21) a solo electric guitar song from Larry. Not very melodic nor even super impressive! (8.666667/10)

9. "Ism - Ejercicio" (3:59) trying to be heavy and ominous, it's just not working: neither the chord progression, low end, or pacing. The bass-and-drum race of the second minute is an odd and not altogether engaging motif, nor is the next heavy, plodding Mahavishnu-like blues-rock motif over which Randy's muting play solo ensues. Then there is the YES-like motif in the final minute in which Alphonse's drumming sounds out of sync with the others. (8.6666667/10)

10. "Right On Y'All" (4:21) a fairly together fast-driving song with more sounds and stylings that remind me of Steely Dan as well as some annoying cowbell, guitar play, and synth noises. (8.75/10)

Total Time 44:22

All of Larry's bandmates are quite competent with drummer Alphonse Mouzon receiving a lot of attention for his dynamic work, but, for me, it is trumpeter Randy Brecker who keeps stealing my attention away from the others--even from Larry himself. I agree with other reviewers that the songwriting on this album seemed to take a back seat to A) fitting into the genre and B) showing off the skills of the individual musicians. 

For as talented and skilled as Larry Coryell was, he must have had a stubborn streak running deep inside cuz the dude never quite fit in--never became as famous, always stuck to a very eccentric agenda and style of music--even his guitar sound remained "stuck" inside some kind of dirty, raunchy, macho that sounded as if he had to make more noise than everyone else. Maybe he had some kind of inferiority complex that he was compensating for. Maybe it's because he had to wear glasses. Or because he was from Seattle. But he had cool hair! My point is: the dude never really moved to the front of the class and I think this had a lot to do with his stubbornly eccentric choices: he wanted to be different and he was; it was just not the kind of 'different' that propels one to the top of the charts or in front of sold-out arena-size audiences.

89.75 on the Fishscales = B+/4.5 stars; there are some great, top tier J-R Fuse tunes and performances here--some real highs--but there are also a few duds, making this album as a whole the kind of middle of the road.

LARRY CORYELL Planet End (1975)

An album with a most impressive list of collaborators! This 1975 album is made of tracks left from 1970's Spaces sessions and 1974's Introducing Larry Coryell and the Eleventh House sessions. That is why we have two tracks with Eleventh House, two with McLaughlin, Miroslav Vitous and Billy Cobham, and one solo. The album was released by Vanguard Records sometime in 1975.

Line-up / Musicians:
- Larry Coryell / guitar, all instruments (4)
With:
- Mike Lawrence / trumpet (1,3)
- Mike Mandel / electric piano & synth (1,3)
- Danny Trifan / bass (1,3)
- Alphonse Mouzon / percussion (1,3)
- John McLaughlin / guitar solo (2,5)
- Chick Corea / electric piano (2)
- Miroslav Vitous / double bass (2,5)
- Billy Cobham / drums (2,5)

1. "Cover Girl" (5:38) Larry and company with new and more electronic effects. (8.75/10)

2. "Tyrone" (11:38) impressive performances from a lineup of Jazz-Rock Fusion's All-Time Greats (John McLaughlin, Chick Corea, Billy Cobham, Miroslav Vitous, and of course, the Godfather of Fusion himself) on a song that never really invites the listener in. Eleven-and-a-half minutes is a long time to be sitting on the outside looking in, listening and waiting, hoping to get the magic ticket into the inneren Sanktum. But, for me, at least, it never comes. (17.5/20)

3. "Rocks" (4:48) the most melodic and yet most traditionally-jazz start to any song on the album, but then it takes off and speeds down the autobahn at breakneck speeds with all the abandon of a top-notch jazz-rock band that is intent on impressing. Nice funk coming from Mike Mandel's Fender Rhodes and some awesome semi-muted trumpet from Mike Lawrence. I really like this Randy Brecker composition. (So, where was Randy when his song was being recorded?) (9/10)

4. "The Eyes of Love" (3:21) an acoustic guitar piece that includes multiple tracks all performed by Larry.  Nice even if it is a little more on the Hendrix & Bayou bluesy side for my likes. (8.875/10)

5. "Planet End" (8:45) back to the same combo of all-stars from the album's second song, "Tyrone," including Billy Cobham, Miroslav Vitous, and John McLaughlin. Since Larry and Miroslav get the initial leads we get to hear the wonderfully-creative chord-play of the Mahavishnu in the role of accompanist. As always, I find myself far more intrigued by John's "rhythm" guitar work than anyone else trying to solo or drive the song from the rhythm section. As a matter fact, there is a frame in the fourth minute where it feels as if drummer Billy Cobham actually loses his connection with the rest of the players! (Maybe he dropped a stick, cuz right after he gets back up to speed and really shows some amazing chops!) (17.5/20)

Total Time 34:10

To my ears and brain, this album feels like the dumping ground for a lot of "extras"--songs that failed to make other albums and were here collected, dusted off, merged onto one tape, and published. Nice performances by some very skilled and proficient jazz-rock fusion all stars but, ultimately, lacking any music or melodic in-roads for the   Whereas the previous Larry Coryell album that I reviewed was one of my favorite and most enjoyable listening experiences in a long time, this album has set me back once again in my journey to love and enjoy the music and guitar playing of Larry Coryell, this album experience was more akin to those I've had in response to listening to Bitches Brew, Emergency!, or even the first Mwandishi album--too founded in the (still) foreign language that was 1960s Hard Bob jazz. 

88.04 on the Fishscales = B/four stars; a solid display of jazz-heavy Jazz-Rock Fusion that sounds as if it comes from the earlier days of the movement rather than a true 1975 album would/should be; an album that is as dense and inaccessible to the ignorant outsider as any Hard Bop 60s album.

THE ELEVENTH HOUSE Level One (1975)

One of the most prolific bandleaders in the Jazz-Rock idiom is back with his second studio album expression through his Eleventh House medium. Mainstays include keyboard wizard Mike Mandel, drummer Alphonse Mouzon; the newcomers include bassist John Lee and trumpeter Mike Lawrence--both of whom give the performances of their lives--as well as guest musician (and song contributor) Steve Khan.

Line-up / Musicians:
- Larry Coryell / guitar
- Mike Lawrence / trumpet, flugelhorn
- Mike Mandel / keyboards
- John Lee / bass
- Alphonse Mouzon / percussion
With:
- Steve Khan / 12-string guitar (1)

1. "Level One" (3:21) a Mike Mandel and Steve Khan composition that opens the album with something quite powerful--not unlike the impact of a Mahavishnu Orchestra song. Great hook, great play from all the musicians. Awesome start to the album! (9.5/10)

2. "The Other Side" (4:35) what play from the rhythm section of Alphonse Mouzon and John Lee! Wow! John is really on fire with that bass! I think the playing of this rhythm section that pushes trumpeter Mike Lawrence to such heights. The use of effects like reverb and wah-wah on Mike's trumpet is very cool. Larry is great "sneaking in" among Mike and the rhythmatists until his solo in the fourth minute. Man! Is he hot! One of my favorite Larry Coryell solos ever, to be sure! There is NO flaw with this amazing song! (Thank you, Michael Lawrence!) (10/10)

3. "Diedra" (3:56) toning it down with a saccharine tune that still manages to convey some jazz and funk despite some smooth melodies and easy-going spaciousness. This song is just so well put together: everybody performing like absolute masters of their instruments, the song (composed by Mike Mandel) founded on a simple BOB JAMES-like formula but embellished subtly as only true professionals could do. (9/10)

4. "Some Greasy Stuff" (3:30) an Alphonse Mouzon compostion that sounds like a submission for a either television show theme song or a Disco cover for a Soul Train dance tune. It's good: the performances are all top notch and seem genuinely inspired; it's just that the song is a little . . . basic. (8.75/10)

5. "Nyctaphobia" (4:03) Oh! Now we're trying some Billy Cobham-level funk furioso! The horns (which I assume owes some credit to keyboard maestro Mike Mandel) are epic! And then the music and musicians just keep driving the music into faster and more furious heights until finally settling into a race across the desert. This Alphonse Mouzon composition is so much superior to the previous one. It reminds me of some of the dramatic music from the first three Chicago albums. (9.3333/10)

6. "Suite" (5:32) (9.25/10):
- a) "Entrance" - the first of Side Two's five Larry Coryell compositions is running on high octane, multiple engines. I am super impressed with the piano-centricity of the song and the massively dense wall of sound of this Latin-sounding tune.  
- b) "Repose" - the slow down is unexpected, sparsely populated (despite the oceanic fretless bass), taking a bit to set up for the trumpet melody setting with all of the subtle contributions of the other band members.  
- c) "Exit" - the finale starts out like a Mexican fiesta party before settling into a Latin-jazz-rock motif to finish. I'm not quite sure what Larry was setting out to do with this "suite" but it is definitely of the highest caliber in terms of composition and performance.

7. "Eyes of Love" (2:35) an acoustic guitar solo piece. Larry can play some Americana! (and play it complexly, as is his nature). It's not "The Clap" or "Mood for a Day" but it's good. (9/10)

8. "Struttin' with Sunshine" (3:20) Larry launches the band into a rock song only throwing in a couple nearly-undetectable twists and stumbles (to make it not be in the 4/4 time it feels like it's in?) The music played by the rhythm section is a bit boring (though they manage to spice it up subtly) but the guitar, trumpet, and keys on top manage to keep it interesting/entertaining. Larry is just so talented! He jus t lets his skills work on such a subtle level! (You have to be really listening to really fully appreciate his genius). (8.875/10)

9. "That's the Joint" (4:03) a John Lee composition, unfortunately, has the stiff, one- or two-dimensional restrictiveness of his compositional style. Still the rest of the band do their best to make it interesting. (8.75/10)

Total Time 34:55

This album starts out so fast, so hard, with such complexity, displaying such high levels of individual and whole band skill, that it's hard to get a breath in until Side Two. Even "Dierdre" has amazing things happening in it in almost every second of its four minutes. It's not until the album's last two songs that things begin to wane--as if the well is about to run dry; the candle is reaching the end of its wick. Icarus has gotten too close to the sun. This is yet another Larry Coryell album that I have to admit I came into with fairly low expectations but then get absolutely blown away: on so many levels! John Lee! Mike Lawrence! Mike Mandel! Steve Khan! Alphonse Mouzon (drumming, not necessarily composition). And the band leader's generosity in making sure that everyone feels encouraged to feel the freedom to FULLY express themselves! 

91.62 on the Fishscales = A-/five stars; a minor masterpiece of high-caliber Jazz-Rock Fusion. If the entire album were as dynamic and impressive as the five best songs this would be one of the best J-R Fuse albums ever made! 

THE ELEVENTH HOUSE Aspects (1976)

One of the most prolific bandleaders in the Jazz-Rock idiom is back with his second studio album expression through his Eleventh House medium. Mainstays include keyboard wizard Mike Mandel, drummer Alphonse Mouzon; the newcomers include bassist John Lee and trumpeter Mike Lawrence--both of whom give the performances of their lives--as well as guest musician (and song contributor) Steve Khan.

Line-up / Musicians:
- Larry Coryell / guitar
- Mike Lawrence / trumpet, flugelhorn
- Mike Mandel / keyboards
- John Lee / bass
- Alphonse Mouzon / percussion
With:
- Steve Khan / 12-string guitar (1)

1. "Level One" (3:21) a Mike Mandel and Steve Khan composition that opens the album with something quite powerful--not unlike the impact of a Mahavishnu Orchestra song. Great hook, great play from all the musicians. Awesome start to the album! (9.5/10)

2. "The Other Side" (4:35) what play from the rhythm section of Alphonse Mouzon and John Lee! Wow! John is really on fire with that bass! I think the playing of this rhythm section that pushes trumpeter Mike Lawrence to such heights. The use of effects like reverb and wah-wah on Mike's trumpet is very cool. Larry is great "sneaking in" among Mike and the rhythmatists until his solo in the fourth minute. Man! Is he hot! One of my favorite Larry Coryell solos ever, to be sure! There is NO flaw with this amazing song! (Thank you, Michael Lawrence!) (10/10)

3. "Diedra" (3:56) toning it down with a saccharine tune that still manages to convey some jazz and funk despite some smooth melodies and easy-going spaciousness. This song is just so well put together: everybody performing like absolute masters of their instruments, the song (composed by Mike Mandel) founded on a simple BOB JAMES-like formula but embellished subtly as only true professionals could do. (9/10)

4. "Some Greasy Stuff" (3:30) an Alphonse Mouzon compostion that sounds like a submission for a either television show theme song or a Disco cover for a Soul Train dance tune. It's good: the performances are all top notch and seem genuinely inspired; it's just that the song is a little . . . basic. (8.75/10)

5. "Nyctaphobia" (4:03) Oh! Now we're trying some Billy Cobham-level funk furioso! The horns (which I assume owes some credit to keyboard maestro Mike Mandel) are epic! And then the music and musicians just keep driving the music into faster and more furious heights until finally settling into a race across the desert. This Alphonse Mouzon composition is so much superior to the previous one. It reminds me of some of the dramatic music from the first three Chicago albums. (9.3333/10)

6. "Suite" (5:32) (9.25/10):
- a) "Entrance" - the first of Side Two's five Larry Coryell compositions is running on high octane, multiple engines. I am super impressed with the piano-centricity of the song and the massively dense wall of sound of this Latin-sounding tune.  
- b) "Repose" - the slow down is unexpected, sparsely populated (despite the oceanic fretless bass), taking a bit to set up for the trumpet melody setting with all of the subtle contributions of the other band members.  
- c) "Exit" - the finale starts out like a Mexican fiesta party before settling into a Latin-jazz-rock motif to finish. I'm not quite sure what Larry was setting out to do with this "suite" but it is definitely of the highest caliber in terms of composition and performance.

7. "Eyes of Love" (2:35) an acoustic guitar solo piece. Larry can play some Americana! (and play it complexly, as is his nature). It's not "The Clap" or "Mood for a Day" but it's good. (9/10)

8. "Struttin' with Sunshine" (3:20) Larry launches the band into a rock song only throwing in a couple nearly-undetectable twists and stumbles (to make it not be in the 4/4 time it feels like it's in?) The music played by the rhythm section is a bit boring (though they manage to spice it up subtly) but the guitar, trumpet, and keys on top manage to keep it interesting/entertaining. Larry is just so talented! He jus t lets his skills work on such a subtle level! (You have to be really listening to really fully appreciate his genius). (8.875/10)

9. "That's the Joint" (4:03) a John Lee composition, unfortunately, has the stiff, one- or two-dimensional restrictiveness of his compositional style. Still the rest of the band do their best to make it interesting. (8.75/10)

Total Time 34:55

This album starts out so fast, so hard, with such complexity, displaying such high levels of individual and whole band skill, that it's hard to get a breath in until Side Two. Even "Dierdre" has amazing things happening in it in almost every second of its four minutes. It's not until the album's last two songs that things begin to wane--as if the well is about to run dry; the candle is reaching the end of its wick. Icarus has gotten too close to the sun. This is yet another Larry Coryell album that I have to admit I came into with fairly low expectations but then get absolutely blown away: on so many levels! John Lee! Mike Lawrence! Mike Mandel! Steve Khan! Alphonse Mouzon (drumming, not necessarily composition). And the band leader's generosity in making sure that everyone feels encouraged to feel the freedom to FULLY express themselves! 

91.62 on the Fishscales = A-/five stars; a minor masterpiece of high-caliber Jazz-Rock Fusion. If the entire album were as dynamic and impressive as the five best songs this would be one of the best J-R Fuse albums ever made! 

LARRY CORYELL The Lion and the Ram (1976)

An album sans drums or percussion! And essentially an all-acoustic guitar song--this Larry performing 85% of the tracks.

Line-up / Musicians:
- Larry Coryell / guitar, producer
With:
- Mike Mandel / piano, bass synthesizer
- Danny Toan / guitar (3)

- Joe Beck / Fender Rhodes bass; string synthesizer, acoustic guitar & producer of (10)
- Michal Urbaniak / violin (10)

1. "Larry Boogie" (3:32) bass and two acoustic guitars weaving around one another. I'm sure they're having fun but this Americana folk stuff is not my kind of preference. (8.6667/10)

2. "Stravinsky" (3:15) nice classical-sounding guitar phrasings on steel-stringed acoustic guitars. Interesting but a little too loose and bluesy for me. (8.75/10)

3. "Toy Soldiers" (7:40) two gentle acoustic guitars (one belonging to Danny Toan) to sounding like they're playing something for the Windham Hill label--or one of Pat Metheny or John McLaughlin's solo acoustic pieces (New Chautauqua or As Falls Wichita, So Falls Wichita Falls and My Goals Beyond or Shakti, respectively) (or future Steve Tibbetts or Michael Hedges). A very nice piece that keeps me engaged and interested from start to finish. (13.875/15)

4. "Short Time Around" (4:03) a nice gentle pop-folk song with Larry singing his wife's lyrics. I've always liked Larry's voice: He sounds like an unrefined Stephen Bishop or like Randy Newman or Elvis Costello. The doubled-up ERIC CLAPTON-like electric guitar stuff in the "C" section and through to the finish are actually kind of cool. (8.875/10)

5. "Improvisation on Bach Lute Prelude" (2:00) a very nice, pleasing rendering. (4.5/5)

6. "Song for My Friend's Children" (2:46) sounds like a Stephen Stills jam Graham Nash and David Crosby or maybe something early America would have done. (4.375/5)

7. "Bicenntenial Headfest" (3:19) strummed acoustic guitar chords supporting a second track of lead steel-stringed acoustic guitar. This one sounds more GRATEFUL DEAD or RICHIE HAVENS with anybody (though there are little elements of John McLaughlin in there as well). (8.75/10)

8. "The Fifties" (3:26) awesome spacious guitar guitar chords with strong bass notes involved turn into a blues tune at the one-minute mark. The blues motif is disposable, the chord progression motif is priceless. (8.875/10)

9. "Domesticity" (2:12) sounds like DJANGO! With Larry using two guitars to play what Django would play with one (except for those runs). (4.33333/5)

10. "The Lion & The Ram" (4:25) guitars, synths, bass, and Larry singing again: this time sounding more like GIL SCOTT-HERON. Fiddle courtesy of Michal Urbaniak! Then at 1:05 it turns more like Little Feat/Lowell George. The added electrified instruments and fiddle/electric violin are nice but they really add little to what the song would have been with just Larry doing all the tracks himself with his guitars.  (8.75/10)

Total Time 36:38

I like the acoustic guitar--and I love Larry Coryell's acoustic guitar playing--both rhythm and lead--I just don't really enjoy the blues or country/folk base of many of the motifs.

88.61 on the Fishscales = B/four stars; an excellent display of Larry Coryell's range and talents, especially if you enjoy slick acoustic guitar work peppered with a couple vocals and some blues.

Did I mention that during this same span of time Larry guested on no less than 28 albums, including:

Chico Hamilton "Larry of Arabia"

Gary Burton Duster, Genuine Tong Funeral, Feelings and Things and In Concert

Steve Marcus Tomorrow Never Knows and Count's Rock Band

Annie Lawrence "I Wish I Knew How It Would Feel to Be Free"

Dave Sebesky "Guru-vin" & "The Word"

Herbie Mann Memphis Underground

Randy Brecker Score

Jim Pepper Pepper's Pow Wow

Jimmy Webb And: So On

Gypsy Queen "The Great Escape"

Leon Thomas "Boom-Boom-Boom"

Alphonze Mouzon "Ism"

The 5th Dimension Earthbound

Michal Urbaniak "Bloody Kishka"

Lenny White "Prince of the Sea"

Larry Young's Fuel Spaceball

The Pat Metheny Group Live in Concert

Gary Burton / Larry Coryell Gary Burton / Larry Coryell 

Charles Mingus "Better Git Hit in your Soul"

Michael Mantler Movies

Stu Goldberg with Larry Coryell and L. Subramanian Solos - Duos - Trios

Sonny Rollins Don't Ask

Blue Montreux Blue Montreux

Blue Montreux Blue Montreux II

While some of these albums will be found in my compendium (the emboldened ones), many are not. Often Larry's contributions are among the high points of those albums. While his diverse and eclectic styles (and sounds) of guitar playing are often challenging to get into--to get used to--once the effort has been made (by the listener) it proves quite worth its while.