Larry Coryell

The Texas-born "Godfather of Fusion" emigrated across country in 1965 to attend New York's Mannes School of Music. He was coming from the state of Washington where he had attended college at the University of Washington and where his family had been living on the Columbia River since the early Fifties. In The City he quickly insinuated himself into the music scene, hanging out at The Scene to watch (and meet) the latest shakers and movers in the industry and eventually getting the gig of sitting in for Gabor Szabó in Chico Hamilton's quintet while also meeting and playing with open-minded musical adventurer Gary Burton as well as his own first band mates, Columbus "Chip" Baker, Chris Hills, Jim Pepper, and long-time collaborator, drummer Bob Moses. From his first exposure to the dynamic sounds of bands like Cream and Jimi Hendrix Experience, Larry became obsessed with trying to fuse these powerful sounds with his own training as a jazz musician. Thus was born The Free Spirits and his collaborations with Gary Burton, Steve Marcus, Don Sebesky, Herbie Mann, Miroslav Vitous, Randy Brecker, Eddie "Cleanhead" Vinson, and Wolfgang Dauner as well as his own recording contract Vanguard Apostolic Records.

CHICO HAMILTON featuring Larry Coryell The Dealer (1966)

Replacing the popular Gabor Szabo was no small task for young NYC newcomer Larry Coryell, but he does it, injecting his blues and rock preferences into Chico's simple yet respectable jazz, resulting in a sound that sounds, for the first time in history, like the fusion of Jazz with Rock 'n' Roll music. Recorded September 18, 1966, the album was released by Impulse! Records later in the year. 

Line-up / Musicians:

- Chico Hamilton / drums, percussion, vocals (B2)

- Richard Davis / double bass

- Larry Coryell [Introducing] / electric & acoustic guitars 

With: 

- Arnie Lawrence / alto saxophone (A1 to A4, B2, B3)

- Archie Shepp / piano (A2)
- Ernie Hayes / organ (A4, B1)

A1. "The Dealer" (6:20) with the prominent injection of Larry's distinctive rock guitar sounds--complete with extended and featured lead solos--we have what feels to me like the very first incorporation or "fusion" of Jazz music with Rock 'n' Roll. (8.875/10)

A2. "For Mods Only" (4:24) an Archie Shepp composition that sounds exactly like a RAY CHARLES  tune ("What'd I Say"). Blues guitar and sax (courtesy of Arnie Lawrence) respond to guest pianist Archie Shepp's Ray Charles-like piano pounding. (8.75/10)

A3. "A Trip" (6:35) Richard Davis' Danny Thompson-like double bass playing is met by Chico's trendy rim shot shuffle drum play over which Arnie leads the melody parade while Larry performs solo ostinato runs beneath that mirror, contrast, or even harmonize with the sax and bass. Cool Jazz song with some rock-suggestive guitar playing in Larry's solo in the fifth minute but, overall, feeling far more jazz or even Pentangle-like Folk Jazzy. (9/10)

A4. "Baby, You Know" (3:55) bluesy bass, brushed drums, and bluesy electric guitar and sax play mire this tune in deep swamp molasses. Larry's guitar work is by far the most interesting component of the song. (8.75/10)

B1. "Larry Of Arabia" (5:08) Larry's debut compositional contribution to New York's Jazz scene feels completely representative of the Blues--until he starts to inject Charlie Christian/Wes Montgomery-like quick-chords into his flow. Ernie Hayes' organ makes its presence known for the third minute while Richard and Chico support from beneath and Larry continues to "sing" the Blues. That swinging guitar play in the fifth minute is so sexy cool! (8.875/10)

B2. "Thoughts" (6:28) bowed bass, wordless vocalize and small upper-register guitar chords open this one sounding like a Ennio Morricone Spaghetti Western soundtrack. Arnie Lawrence's sax joins in on the second round through and then at 1:35 the band kicks into gear, moving slowly but methodically into a Cool Jazz motif with Larry adroitly performing the rhythm guitar support typical of a Jazz guitarist of the time. Richard Davis gets quite a little time in the spotlight on this one, which is well-deserved, while Arnie and Chico keep it real until Chico, Richard, and sensitive Larry close it out with a bookend repetition of the intro for the final minute. I like this one! (9/10)

B3. "Jim-Jeannie" (5:45) a percussive jamboree that feels typical of the post-Beat, post-Cubano Latin music craze that charged the affluent Anglo-American party scene around this time. Thick and perhaps a little overly-busy, it's a nice festive-feeling finish for any album. (8.875/10)

Total time: 38:15

88.75 on the Fishscales = B/four stars; an excellent display of mainstream Jazz with the exciting new injection of some Rock-inflected guitar playing. The future is born!

THE FREE SPIRITS Out of Sight and Sound (1967)

A studio album from 1966 that failed to capture the dynamic and reckless energy that had made the band an underground sensation in live performances. This unfortunate result occurred due to the overbearing, tried-and-true methods and expectations of producer Bob Thiele, a 44-year old record producer with lots of experience working on classic jazz albums but very little with pop or rock 'n' roll bands. His iron-fisted rule over the recording sessions (engineered by Rudy Van Gelder at Rudy's studio in New Jersey) led to a total breakdown and concession by the brow-beaten youth who were hoping to capture the very energetic and loose jam-band style of their live concerts. Due to the disappointment of the results, the band disavowed the album and soon broke up after its release.

Line-up / Musicians:

- Larry Coryell / lead guitar, sitar (2), vocals
- Columbus "Chip" Baker / rhythm guitar, vocals
- Jim Pepper / tenor saxophone, flute
- Chris Hills / bass
- Bobby Moses / drums

1. "Don't Look Now (but Your Head Is Turned Around) (2:19)
2. "I'm Gonna Be Free (3:30)
3. "Lbod (3:05)
4. "Sunday Telephone (2:57)
5. "Blue Water Mother (2:46)
6. "Girl of the Mountain (2:42)
7. "Cosmic Daddy Dancer (2:36)
8. "Bad News Cat (3:26)
9. "Storm (2:15)
10. "Early Mornin' Fear (2:39)
11. "Angels Can't Be True (2:43)
12. "Tattoo Man (2:59)

Total Time 33:57

Without knowing any of the above, one can tell that not a lot of love or patience went into the sound and performances of the songs recorded in Van Gelder's studio. At the same time, there is a representation here of one of the earliest attempts to approach the fusion of jazz and rock 'n' roll while coming from a loud, rock perspective instead of a delicate, nuanced jazz perspective. Other than Tony Williams and, in two years time, John McLaughlin's solo releases, I know of nobody else projecting that wild recklessness of mid-Sixties rock and blues rock into their jazzy compositions.

A landmark album release that deserves recognition for its historical contribution but, if you want to try to hear the band in all its glory, check out the live album that was recorded in 1967 but not released until 2011.

THE FREE SPIRITS Live at The Scene February 22, 1967 (2011)

An album of live concert material that was recorded in 1967 but not published until 2011. Thank heavens for the preservation instincts of some hero unbeknownst to me for, with this album release, we have a more accurate representation of the sound that made Larry Coryell and the band--and their fans--so high on this project--and something to compare to the Bob Thiele-produced 1967 studio album release that disappointed the band so much (to the point of causing them to call it quits). The Scene was a popular nightclub that 23-year old Steve Paul had opened in late 1964 as a young artist's hangout but began supporting live music in 1966. "Steve Paul's The Scene" quickly earned the reputation as a young person's hangout with Steve championing young musical artists. Some of the bands he helped get started in the early days include Lovin' Spoonful, The Young Rascals, Blood, Sweat and Tears (with Al Kooper) while also supporting established artists like Sammy Davis, Jr. In its second incarnation, in 1967, it became a hangout for Andy Warhol and his gang as well as a frequent performing venue for Tiny Tim and an after-hours Jimi Hendrix as well as the site for performances from The Velvet Underground, Pink Floyd, Jeff Beck, Traffic, Fleetwood Mac, and The Chambers Brothers.

Line-up / Musicians:
- Larry Coryell / guitar, vocals
- Columbus 'Chip' Baker / guitar, vocals
- Chris Hills / electric bass, vocals
- Bob Moses / drums
- Jim Pepper / tenor saxophone, flute, vocals
- Joe Beck / guitar (9, 10)
- Dave Liebman / tenor saxophone (9, 10)
- Randy Brecker / trumpet (9, 10)

1. "LBOD" (excerpt) (2:48)
2. I Feel a Song (5:10)
3. Earth Girl (5:03)
4. Sunday Telephone (5:57)
5. Cosmic Daddy Dancer (4:49)
6. Storm (2:39)
7. Blue Water Mother (2:53)
8. Peyote Song / Girl of the Mountain (3:49)
9. I'm Gonna Be Free (9:33)
10. A Night in Tunisia (12:32)

Total Time 55:13

The material captured on this album is not by any means a carbon copy of the material recorded in Rudy Van Gelder's studio a few months before; this is raw rock-driven live music--including several songs not included in the debut album ("A Night in Tunisia," "I Feel a Song," and "Peyote Song / Girl on the Mountain"). By this time in their rather brief lifespan, the band was playing out: expanding more on some of their "older" compositions but more, really jamming on the new material--as exhibited in the album's last two songs. This album definitely captures the legendary "fire" and energy of the band's live performances that was never able to be captured in the studio--especially not under the iron-handed supervision of big-name jazz producer Bob Thiele.

Highly recommended for those of you wishing to experience the focus and energy of a very early rock-driven perspective on Jazz-Rock Fusion. Larry and drummer Bob Moses would go on to make significant contributions to J-R F while Chip Baker and Chris Hills, not so much--the latter a few tracks here and there.

THE GARY BURTON QUARTET Lofty Fake Anagram (1967)

Recorded in NYC, August 15-17, 1967; released by RCA Victor later in the year (probably before Duster).

Line-up / Musicians:

- Gary Burton / vibraphone

- Steve Swallow / bass
- Bob Moses / drums
- Larry Coryell / guitars

A1. "June the 15, 1967" (4:50) this song opens with some monster bass playing from Steve Swallow, performed over Bob Moses' solid rock-informed drumming. Gary and Larry join in with the vibes and electric guitar, the former in the lead position performing some very comples melody lines while the latter supports with some unobtrusive rhythm guitar work. Then Larry steps back to support Larry on an extended solo for the next 90 seconds before returning to a most gentle, weirdly-melodic lead to take us to the song's finish. (8.875/10)

A2. "Feelings and Things" (4:05) soft, gentle, spacious, yet luxuriously-textured by Gary's four-note chords. There is a late night Kind of Blue feel to this palette as Larry's presence is almost invisiblefor the first 90 seconds. When he does start to make his presence known it is with a very respectful, very traditional jazz guitar approach. At 2:30 he's offered the lead and, even though he cannot resist his rock-energy, he does a nice job of "coloring within the lines" Pretty but really just standard Jazz, no fusion here. (9/10)

A3. "Fleurette Africaine" (3:36) interesting palette that presents as Jazz or even world music pastiche but totally opens the door for Larry's Rock 'n' Roll side to join in. For a bit it almost seems as if there are two totally different things going on but it works: it blends very easily, almost comfortably. What a giving nature Mr. Burton has! How can he see the amazing gift he's giving to music by allowing this synthesis to occur! (9/10)

A4. "I'm Your Pal" (3:03) really more of a duet between Steve and Gary--one that shows what an amazing "unity" the two have between them. (9/10)

A5. "Lines" (3:10) Now Gary and Larry duet: both letting loose of some wild oats but both remaining fixedly respectful of the "rules" of Jazz--acting as if they're both channelling the spirits of Django Rhinehardt and Stéphane Grappelli. Man! Are these two guys skilled! (9.25/10)

B1. "The Beach" (3:41) more Jazz, with great play from the rhythmatists, while Gary and Larry work out their differences over the top--each presenting poetic quotes from their own traditions in hopes that something might click between them--some kind of understand or unifying principle--and it feels as if they are finally successful toward the end. Steve and Bob are so impressive! (9.25/10)

B2. "Mother of the Dead Man" (4:37) a slow and very spacious Vibraphone opening is backed by some standard late-night jazz bass and brushed drums while Larry intersperses his gentle electric guitar notes to make for a gentle Bill Evans-like weave. Gary stays in the driver's seat, leading the band through an interesting exploration of unusual chord and key changes until relinquishing the lead to Larry in the third minute. Larry's bluesy lead guitar feels/sounds a bit incongruous with the gentle support of the threesome behind him; he does much better while playing second fiddle to Gary's lead. Overall, it is a very pleasant--and interesting--listening experience (reminding me of some interlude or background music to a story narration from Mister Rogers' Neighborhood.) (9/10)

B3. "Good Citizen Swallow" (5:34) set up to sound like something familiar (like a theme song from a television game show) though the quartet shift away from this opening theme for a while (but come back to it from time to time if only to recenter). Gary seems to exert control throughout the first half, but then everybody backs off to allow Steve room for an a cappella solo--one that lasts for almost two minutes--then everybody comes back together for the finish. (8.75/10)

B4. "General Mojo Cuts Up" (4:36) for this song Larry's two tracks of zither-sounding guitars get full attention while Gary's Vibraphone eventually joins in and takes over. If Steve Swallow and Bob Moses are present and involved it is minimally--until, that is, the third minute when a crash from one of Bob's cymbals announces with great aplomb his arrival. From there out the chaotic free spirit continues as each of the musicians seems to fly freely in their own directions, parallel to one another but definitely mutually aware. Then the musicians each drop out, leaving only Gary to take us out in a kind of meditative mathematically contemplative outro. Brilliant! If this isn't a perfect example of the early fusion of Jazz and Rock 'n' Roll, I don't know what is. (9.25/10)

Total time: 38:12

I would call this album less an album of Jazz-Rock Fusion than the meeting of two worlds, two cultures, each trying with infinite patience and respect to figure out how their two vast worlds of customs and perspectives might work together, if not blended at least side-by-side.

90.42 on the Fishscales = A-/five stars; a minor masterpiece of experimental music that is, for me, one of the first true representations of the fusionary sound and spirit of Jazz-Rock Fusion. 

The GARY BURTON QUARTET Duster (1967)

Acclaimed as one of Jazz-Rock Fusions' first albums, Duster was recorded on April 27-28, 1967 and then released in November by RCA Records. A quartet, Duster featured the collaborative musicianship of guitarist Larry Coryell, bassist Steve Swallow, and drummer Roy Haynes.

Line-up / Musicians:

- Gary Burton / vibraphone
- Larry Coryell / guitars
- Steve Swallow / bass
- Roy Haynes / drums

A1. "Ballet" (4:55) the band's rendering of this Michael Gibbs composition sounds like an attempt to build something on a riff from one of Miles Davis' latest Second Great Quintet albums. The song sounds like a standard Hard Bop song --which hen moves into something more akin to the Cool Jazz world for Steve Swallow's solo in the fourth minute before returning to the exploration of the opening section's chordal riffs. Yes, the guitar tone and riffing styles used by Larry Coryell during his solo in the third minute sound as if a Rock guitarist were sitting in on the session, but, otherwise, what I hear in this song is what I'd consider a pretty eclectic though also pretty typical, Jazz tune from the Sixties. I do like this type of Jazz, though. (9/10)

A2. "Sweet Rain" (4:23) dreamy soundscapes set up through Gary's mellifluous slow-decaying Vibraphone runs and chords, Larry's gentle and peaceful guitar tone for his jazzy chord and note play, and Roy Haynes' nuanced cymbal play. (I can barely hear any bass.) This is the second of Michael Gibbs' three compositions--and what a varied bunch the three are! (8.875/10)

A3. "Portsmouth Figurations" (2:56) built on a little more speed, the drums and bass are played rather quietly while Gary and Larry fly through their jazzy chord progressions (via Gary's arpeggios and Larry's quick-change chords and Vibraphone-matching legato runs). Then Roy's drums "suddenly" appear with quite some aplomb for a solo in the second minute. (Who knew?) Then Gary and Larry finish things off with the same furious legato runs as before. Weird but impressive. (8.875/10)

A4. "General Mojo's Well Laid Plan" (4:57) an interesting song for how laid back and colloquial it feels--as if it's a cover of a Surfer Rock (or, more truly, Yacht Rock) love song (though it's a Steve Swallow original). The song is quite floatacious and mellowing--perfect for laying out on the veranda in the soft breezy sunshine. Pretty. Steve Swallow's solo almost lulls me to sleep. (8.875/10)

B1. "One, Two, 1-2-3-4" (5:55) a vehicle created by Gary and Larry to display the expression of Larry's free-form rock ideas. The song's first 2:30 is a Roger McGuinn "Eight Miles High"-like exposition of Larry's fiery, almost reckless abandon guitar play with Gary sitting silently from the sidelines, but then Gary takes a turn--trying every bit as hard as Larry to zoom along at reckless speeds (only his instrument doesn't convey that kind of abandon as well as Larry's guitar). At the end of the fifth minute the two come together, matching legato lines with admirable precision and unity. All the while Roy and Steve are below venting a little of their own chaotic energies. Now this might meet all the requirements of Jazz-Rock Fusion. Though not my favorite kind of music, this is an impressive display of musicianship. (9/10)

B2. "Sing Me Softly of the Blues" (4:02) covering a Carla Bley composition the band starts out with Gary, Steve, and Roy establishing the spacious, plodding foundation over which Larry joins in playing in a tone and style that is most often found in Country-Western music. At 1:30 there is a subtle yet quite remarkable shift into Blues as Larry relinquishes the lead to Gary: it's as if the band has pretty much abandoned the Country-Western sound and feel that Larry had been championing! In the end of the third minute Larry returns to the front, now sporting what feels more like a Hawai'ian sound styling. The chordal interplay of Gary's Vibraphone is so smooth and genius--perhaps frustrating Larry with its super Coolness so that he lashes out in the song's final 25 seconds with a flare of pure Blues-Rock to help bring the song to end. Very interesting! (8.875/10)

B3. "Liturgy" (3:24) back to the Michael Gibbs compositions (the final of three), we find ourselves once again back in the world of more familiar Jazz, here some of the Cool Jazz that was probably Michael's bread and butter during his formative years in the late 1950s. (I'm jsut learning that a friendship and collaborative partnership between Michael and Gary began in the early 1960s when they were both students at Berklee College of Music--both being particular students of Herb Pomeroy--as was Steve Marcus. A long and fruitful relationship, the music world is quite fortunate to have benefitted from.) (8.875/10)

B4. "Response" (2:10) ending the album with a dreamy Hawai'ian soundtrack piece courtesy of one Gary Burton, the gentle camaraderie between Gary and Larry is perfectly on display here--which makes for an excellent song to exit with. (4.5/5)

Total time: 32:46

I have absolutely no complaints about this album. The music is wonderful, the performances outstanding--especially from the two guys up top--offering the world some entertaining and enjoyable Jazz music to feast from. The credit for contributing in a major way to the launch of Jazz-Rock Fusion is a little generous, though Larry Coryell's cross-pollinated background (and preferences) definitely come shining through (such a versatile guitarist!) but the foundational music and finished products here belong almost exclusively to the Jazz world.

89.167 on the Fishscales = B+/four stars; an excellent collection of contemporaneous Jazz tunes remarkable for the occasional injection of "outside" sounds from eclectic guitarist Larry Coryell.

GARY BURTON QUARTET with Orchestra A General Tong Funeral (1968)

The music of Carla Bley as performed by The Gary Burton Quartet with some help from the Berklee School of Music orchestra. The mateiral was recorded in New York City in July of 1967 and then released by RCA Victor early in 1968.

Line-up  /Musicians:

- Gary Burton / vibraphone

- Steve Swallow / bass

- Lonesome Dragon / drums

- Larry Coryell / guitars

Orchestra:
- Carla Bley / piano, organ, leader
- Steve Lacy / soprano saxophone

- Lenadro "Gato" Barbieri / tenor saxophone

- Jimmy Knepper / trombone, trombone [bass]
- Michael Mantler / trumpet
- Howard Johnson / tuba, baritone saxophone

I think most music lovers are want to elevate this album into "Jazz-Rock Fusion" status due to their reverence for these musicians--especially the under-appreciated Carla Bley--but I hear very little material that I would put anywhere near J-R F territory: parts of "Lament" and "Some Dirge" along with a few riffs and dynamics that might have been inspired by Rock (or Pop) sources. Otherwise it sounds and feels to like a jazzy theatric rendering of a New Orleans funeral. There are many songs and albums by Don Ellis and his orchestra that are more closely aligned with the "fusion" that we will soon be calling "Jazz-Rock Fusion" than there are on this album. I mean, just cuz Larry Coryell is present (and Rock-solos on "Some Dirge" and "The New National Anthem") it does not automatically qualify an entire album as J-R F!

     On the other side: the music is lovely, fun, interesting, with some fine performances from all participants. I, too, wish there was more universal consideration of the compositional talent of Ms. Bley.

STEVE MARCUS Tomorrow Never Knows (1968)

The debut album as a band leader by former lead saxophonist for Stan Kenton's Big Band, Steve Marcus. The musicians he chose to surround himself with is a strong indication of his intentions as they are all young musicians who were highly interested and saturated in the latest trends of music and youth culture. Recorded late in 1967 and released by Vortex Records on February 17, 1968, the album was built around covers of some of Rock 'n' Roll's most creative and psychedelic hit songs. 

Line-up / Musicians:

- Steve Marcus / saxophones [soprano, tenor], bandleader

- Chris Hills / bass

- Bob Moses / drums
- Larry Coryell / guitars

- Mike Nock / piano

A1. "Eight Miles High" (4:44) an excellent cover of the Byrds' classic. Larry Coryell's work on the 12-string guitar is amazing! (9.25/10)

A2. "Mellow Yellow" (4:50) the cover of the Donovan number one hit is awesome--rendered in a kind of Beatles "Yellow Submarine" palette and parody form that even carries a heavier dose of sarcastic than the Fab Four ever mustered. Again, Larry Coryell's guitar "play" is extraordinary--and pianist Mike Nock bandleader Steve Marcus join in on Larry's free jazz craziness more and more as the song progresses--all in the right channel while the original "small town big band" plods away in their dirge-like fashion in the left. Awesome! High marks for creativity and wit. (9.5/10)

A3. "Listen People" (2:25) Graham Gouldman's monster hit for Herman's Hermits turned into something jazzified for the masses and easy listening radio play. (8.875/10)

A4. "Rain" (7:02) a Beatles song that is churned up and spit out with even more sarcasm and humor than the composers ever saw coming. Steve seems to be purposefully dragging his notes out onto the floor like a rubber-legged drunk dancing solo on the dance hall dance floor. Of the other musicians, only drummer Bob Moses seems to be expressing the same degree of affected derision. In the fifth minute Larry gets his chance to voice his own feelings under the spotlight--which he does as if an electric guitarist suddenly went strum crazy--at first showing a kind of dexterity but then devolving into something more akin to the drunken dancer. The final minute is . I love bassist Chris Hills' thick NOEL REDDING/PEARL JAM-like bass sound and play (which feels as if it would have been more befitting to the next song). Comical while also expressing the skill and talent of these musicians. (13.75/15)

B1. "Tomorrow Never Knows" (11:07) with the spacious opening--only bass and drums establishing anything constant--the music sounds like The Doors' "In the End" in which lots of space is given to the solo inputs of drug-addled musicians: first Larry Coryell's wild and crazy electric guitar musings, then Mike Nock's almost mockingly simplistic and saccharine child-like piano musings. But, like Larry, his structure and sanity seem to derail as he goes along, turning into a totally awesome/amazing jazz piano solo by the end of the fourth minute. Mike continues far into the eighth minute as Chris and Bob continue to lay down the most constant rock beat. Then Steve takes a turn (surprisingly: his first) at the end of the eighth minute, using his soprano sax for the first time. I don't know why these guys chose to sound and feel more genuine, even respectful, on this cover, but they do an extraordinary of trying to elevate their expressions above and beyond those of traditional Jazz performances--which seems befitting and, therefore, respectful of the original composers (to me). With the recapitulation of the Beatles' main melody for the final minute of the song I hear and feel, for the first time, a kindredness of this song with John Coltrane's Love Supreme.!! Amazing! (19.25/20)  

B2. "Half A Heart" (5:21) a cover of a previously-unrecorded Gary Burton composition (with whom Bob Moses and Larry Coryell had been working for the past couple years). Nice, smooth, melodic, with performances reflective of the disciplined, professional side of these musicians--as if toeing the line for the respect of the demanding Jazz community. (8.875/10)

Total time: 35:29

Though lacking any original songs, the renditions of the band's covers is very much grounded in the instruments and sounds of contemporary rock 'n' roll making this a truly pioneering venture into the fusion of Jazz and Rock. I have no qualms or hesitation proclaiming this a true representative of the musical form that the world will eventually be calling Jazz-Rock Fusion or just "Fusion."

92.667 on the Fishscales = A/five stars; an amazingly ahead-of-its-time, pioneering, full-fledged Jazz-Rock Fusion album that feels so natural and mature. Mega kudos, Steve and Gang! You've created one of the first bona-fide fusion albums of Rock and Jazz! 

DON SEBESKY The Jazz-Rock Syndrome (1968)

Recorded June, 1967, and January, 1968 and then released by Verve Records sometime in the Spring.

Line-up / Musicians:

- Richard Spencer / alto saxophone
- Don Sebesky / harpsichord, clavinet, organ, piano
- Donald MacDonald / drums
- Chuck Rainey / electric bass
- Don Payne / electric bass
- Joe Beck / guitar
- Larry Coryell / guitar

- Janet Sebesky / vocals

The music of this album of cover songs sounds like the performances of a small orchestra or band that has integrated a full lineup of rock 'n' roll musicians to cover easy listening, radio- (and television-) friendly instrumental covers of the latest popular hit songs. This is exactly the kind of music that was played in my family's household while I was growing up--my dad's favorite delivery form for the day's pop music hits. There some really great arrangements here and great performances by all--including the orchestral horn and strings sections and the amazing rock 'n' roll and studio musicians involved (look at that lineup!) You can tell that everybody here is fully engaged and having a great time--even Don's wife, Janet, performing the mostly-wordless vocalese of these massive radio and Billboard hits. This was The Sixties, folks! I can see why this qualifies as Jazz-Rock Fusion--and they're not wrong as this is very much like the music that David Axelrod was producing at the same time--but, due to the lack of original compositions, I think the fusion of Jazz is on the minimal side; it's actually more like Orchestra-Rock Fusion. 

LARRY CORYELL Lady Coryell (recorded in 1968; released either in late 1968 or early 1969)

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 / guitars, bass, vocals

- Bobby Moses / drums

- Elvin Jones / drums

- Jimmy Garrison / bass (track B1)

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.

DON SEBESKY The Distant Galaxy (1968)

Recorded between March and October of 1968, the album was released by Verve Records at the end of the year. What's different about this album from his earlier 1968 release, The Jazz-Rock Syndrome, is the inclusion of some original compositions among the numerous cover songs here as well as a far-more-jazzified treatment of the original material. 

Line-up / Musicians:

– Don Sebesky / synthesizer [Moog], arranged by, conductor
– Chuck Rainey / bass
– Donald McDonald / drums
– Rick Horton / effects [Electronic]
– Hubert Laws / soprano saxophone, flute
– Dick Hyman / piano
– Warren Bernhardt / clavinet
– Richard Spencer / soprano saxophone, alto saxophone
– Marvin Stamm / trumpet
– Larry Coryell / sitar, guitar
– Lois Winter / vocals

– Ronald Zito / drums

Many of the musicians' performances here feel quite a bit looser and jazzier than those on the previous album (despite the fact that the lineup of musicians is virtually the same as that for The Jazz-Rock Syndrome); there are far more isolated instrumental jazz solos and layers of separated dynamics going on during these songs, making the covers sound and feel far more jazzified than anything on the previous album--which were all pretty much straightforward instrumental covers of their hit/radio originals. New acrobatic vocalese vocalist Lois Winter is talented but I think I preferred Don's wife, Janet. A lot of people will still call this elevator or dentists' office music (or "musak") though it's arrangements are sophisticated and quite demanding of its performers--and the liberties taken on the main and secondary melodies and multiple layers of instrumentation are far more intricate than those of their originals. 

LARRY CORYELL Basics (recorded in 1968, 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 / vocals, guitar, keyboards, synthesizer

- Mike Mandel / organ, keyboards
- Chuck Rainey / electric bass
- Ron Carter / electric bass
- Steve Haas / drums
- Bernard "Pretty" Purdie / drums
- Ray Mantilla / percussion

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 (recorded and released sometime in 1969)

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

Line-up / Musicians:

- Larry Coryell / guitars, vocals, piano, electric piano

- Chuck Rainey / bass 

- Ron Carter / bass

- Albert Stinson / bass

- Bernard Purdie / drums
- Jim Pepper / flute
- Mike Mandel / organ

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

88.24 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.

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. Recorded January 17, 18 and 20, 1972 at Vanguard Studios in New York City under the production of Daniel Weiss, the album was released by Vanguard in August.

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?

91.6777 on the Fishscales = 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.

LARRY CORYELL The Real Great Escape (1973)

An album of Blues-Rock- and Country-Western-tinged vocal songs that seems to show Larry & Company hoping for radio play popularity in lieu of displays of instrumental prowess or compositional complexity. 

Line-up / Musicians:

- Larry Coryell / guitar, ARP synthesizer, vocals
- Mervin Bronson / bass
- Mike Mandel / piano, ARP synthesizer
- Steve Marcus / tenor & soprano saxophone
- Harry Wilkinson / drums
- Earl Drouen / congas
- Julie Coryell / vocals

Side 1
1. "The Real Great Escape" (7:37) some nice guitar skills on display here are met by proficient exhibitions from Larry's more-than-capable band mates but the bluesy construct is rather simple and the somewhat effected talk-box-like vocal is a little weak. Great bass, congas, and horn arrangements--and not bad guitar playing. A lot better than I expected after reading the reviews of others! (13.5/15)

  
2. "Are You Too Clever" (5:31) one of the two originals composed by Larry's beloved wife, Julie, has the easy-going, gorgeous melodic traits that seem to be typical of Julie's songs--only Larry is the designated singer here! It's definitely pleasant, even crossing a bit into the realm of STEVIE WONDER sound, feel, and construct (which can never be a bad thing). In the end, it's quite a likable, even enjoyable earworm of a song with some pretty nice guitar, bass, and George Benson-like guitar-matching scat vocal work--which makes it very difficult to mark against despite its Neil Young-like simplicity and overall prosaic feel. (8.875/10)

3. "Love Life`s Offering" (3:27) another rather simplistic construct (penned by Larry and performed tout seul with great skill and feeling by Larry on a solo acoustic guitar with multiple vocal tracks). Another song that is too likable and harmless to denigrate. (8.875/10)

Side 2
1. "Makes Me Want To Shout" (5:25) another Larry original (not the cover of the 1959 Isley Brothers hit song), this one returning to the LEON RUSSELL-like swamp blues-rock that is, admittedly, a big part of Larry's roots. Larry's vocal style here is kind of like a cross between Leon, Dr. John, and future Randy Newman and Elvis Costello. The music and performances are closer to The Rolling Stones, Lighthouse, and Blood, Sweat & Tears than anything Larry's done before, though the instrumental finish is quite like something THE ALLMAN BROTHERS would do. Solid if a bit mundane. (8.825/10)

2. "All My Love's Laughter" (4:27) the first of the albums two Jimmy Webb covers, the piano-led intro says it all: syrupy pop schlock. Larry nuanced guitar work and tender lead vocal is a bit wasted despite the potential that the composition holds. A bit too simple--and too piano-centric--to be a showcase for Larry's titanic skills and talents (though his wah-wah/volume-pedal fuzz guitar solo in the instrumental C section does offer some redemptive grist). (8.70/10)

3. "Scotland II" (5:05) co-written by Julie and Larry, there is a dreamy soulful feeling to this one that reminds me a bit of Skylark's "Wildflower" as well as some SANTANA (especially the guitar-centered Latin instrumental jams), Crosby, Stills, Nash & Young, Leon Russell as well as early Lynyrd Skynyrd. Larry and Mike Mandel's experimentation with their new ARP synthesizer is not diminishing or out-of-sorts. (8.75/10)

4. "PF Sloan" (4:03) this Jimmy Webb song sounds and feels like RANDY NEWMAN and/or ELVIS COSTELLO despite its CHICAGO/BLOOD, SWEAT & TEARS horn arrangements. I like (the uncredited) mandolin, banjo, or pedal steel that I think I hear. (8.75/10)

Total Time: 35:35

Nice try--I like both Julie and Larry's singing voices, this is just not much of an exhibition of Jazz-Rock Fusion skills.

88.367 on the Fishscales = B-/3.5 stars; a solid collection of contemporarily-relevant and -styled pop songs that is not relevant enough to either the progression or fulfillment of the Jazz-Rock Fusion destiny nor anything special for the lover of 1970s prog.

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, The Eleventh House 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'S 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 Fusion albums ever made!

LARRY CORYELL featuring THE ELEVENTH HOUSE Aspects (1975)

For some reason the timeline of Larry Coryell album releases (and recording dates) is jumbled due to his prodigious production output (three albums in 1975, three albums in 1976, two in 1977, four in 1978, two in 1979, and two in 1981).

Line-up / Musicians:

- Gerry Brown / drums
- Larrry Coryell / electric and acoustic guitars
- Terumasa Hino / trumpet and flugelhorn
- John Lee / bass
- Mike Mandel / keyboards and synthesizers
House Guests:
- Mtume / percussion
- Danny Toan / rhythm guitar
- Steve Khan / acoustic guitar
- Mike Brecker / tenor saxophone
- Randy Brecker / trumpet

- Dave Sanborn / alto saxophone

1. "Kowloon Jag" (5:48) opening with some raw, distorted electric guitar chord play Larry is giving the listener notice with this composition of his that this album is going to be a heavy and aggressive collection of songs similar to those presented to the world with CHICAGO's first three albums back in 1969, 1970 and 1971. The song unfolds with a syncopated jazz-rock motif with Eleventh House's usual full soundscape and an almost Al Di Meola machine gun approach to note and melody delivery from Larry. The psychedelic effects used on several of the instruments are disorienting for their scratchy, heavily distorted quality. John Lee is given quite a space to deliver a bass solo in the fullness of the fifth minute before a bass chords ushers the band to spit out a very tightly played motif of chord play to bring the song to its close. (9/10)

2. "Titus" (5:29) an interesting composition coming from rhythm guitarist Danny Toan, whose only work before this was with Larry Young's Fuel. That's a lot of confidence Larry's instilling in this youngster. What we have here is a quickly established motif that sounds as if it comes straight from James Brown's band, the JBs, horns and all. John Lee and Gerry Brown give the song a bit of a Disco feel from the bottom end, the guitarists adding to this effect, while the R&B horns spice it up like an AVERAGE WHITE BAND song. At the same time Larry grabs the lead with his loud, distorted and compressed bluesy guitar, only spelled by a brief solo from Dave Sanborn's alto sax in the fourth minute. The song kind of drags along repetitiously ad nauseum, even as Larry solos. It's just that (8.75/10)

3. "Pyramids" (5:21) some ISLEY BROTHERS/early KOOL AND THE GANG funk smooths out into some near-Disco stuff on this Mike Mandel composition. At 0:52 it then veers down a different road: somewhere in between the two. Lots of funk (even hand claps and slap-and-plucked bass!) and beneath Larry's bluesy guitar soloing. I'm a bit disappointed as I await some of his runs but only get blues scales and deeply bent notes in an almost BB King sound and style. (8.6667/10)

4. "Rodrigo Reflections" (4:39) solo acoustic guitar on this Coryell composition that sounds more like a cross between Al Di Meola, Shakti John McLaughlin, and Gene Autry. Until the fourth minute, I don't hear much that even remotely reminds me of the guitar music of Joachin Rodrigo. The horse-effect percussion spanning the length of the entire song is rather cheesy. (8.875/10) 

5. "Yin-Yang" (4:42) a Lee & Brown composition, it has the mathematically rigid (and soulless) formulaic structure that is, unfortunately, often endemic to John & Gerry's songs but it is, thankfully, livened up quite substantially by the horns section, bass and rhythm guitar play, as well as Larry's electric guitar flashes. (8.75/10) 

6. "Woman of Truth and Future" (6:06) though this Mike Mandel song starts out as a very pleasant and laid back spacious electric piano-led tune, it becomes a rather hypnotizing-borderline-obnoxiouss song as its second half is built over a whole-band two-bar riff that is repeated, without break, over the course of the song's final three minutes. It barely works without driving the listener crazy because it is such an unusual chord progression and melody line, but, at the same time, it is so mesmerizing that I often find myself totally tuning out the lead instruments on the top as I try to follow and figure out the odd melody path start to finish, over and over--and this is quite a feat due to the incredibly unusual "cat squealing" sounds being played over the top by Mike's synthesizer for part of that time. Unfortunately, Larry's guitar soloing in the final minute just finds itself buried in the carousel music of the rest of the band. At the same time, I rather like this song: as much if not more than any other on this album. (9/10)

7. "Ain't This" (5:02) thick, chunky rolling bass from composer John Lee is sandwiched between multiple funky keys and rhythm guitar tracks before being covered by the horn section and Larry's loud guitar. Of all the sounds Larry's used on the album up to this point, this is my favorite: it's quite raunchy but clear, like something between Jeff Beck, Ernie Isley, Hiram Bullock, and Dickie Betts & Duane Allman. Those "in-between" tracks from clavinet, electric piano, and very active and "talkative" rhythm guitar are quite amusing--make me want to come back to listen again. The horns are sharp and well-arranged, John's bass solid and tethering throughout, and Larry's guitar is some of the most enjoyable (for me) on the album. A very well developed and realized song. (9.25/10)

8. "Aspects" (4:24) back to a kind of early Kool & The Gang R&B (think "Hollywood Swingin'"). At the one minute mark everyone kind of shifts into Drive but then they hit thick highway traffic and have to make accommodations. I like the funk-R&Bness of this syncopated section. But traffic clears and smooths out and the band starts cruisin' down the highway giving Randy Brecker, Larry (using a Jan Akkerman-like guitar voice), and Mike Mandel plenty of excuses to shout out their enthusiasm for the speed and open top convertible. Definitely a top three song. (9.33333/10)

Total Time 41:31

A lot of the music on this album took many listens in order to capture all of the layers of sophistication being conveyed--an occupation that I very much enjoyed (despite the fact that R&B funk is not as much my jam as much as Jazz-funk is). Though this album may not be quite as enjoyable as its predecessor, it may offer a more mature and fully-developed selection of songs to the listener than Level One.

89.53 on the Fishscales = B+/4.5 stars; a near-masterpiece of very tight, fully-formed R&B Funky Jazz-Rock Fusion.

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.

LARRY CORYELL The Restful Mind (1975)

A collection of Coryell compositions performed and recorded with the help of three of the Oregon quartet: Ralph Towner, Collin Walcott, and Glen Moore.

Line-up / Musicians:
- Larry Coryell / acoustic and electric guitars
- Ralph Towner / guitar
- Collin Walcott / tabla and congas
- Glen Moore / double bass

1. "Improvisation on Robert de Visee's Menuet II" (8:14) a great fusion of rock, power jazz, and world folk/ethnic musical traditions with Ralph Towner's acoustic 12-string, Colin Walcott's tablas, and Glen Moore's double bass playing essential roles in the Oregon-like tapestry. But don't get me wrong: this is not an Oregon song; it's a Larry Coryell  composition and Larry's lead guitar (which sounds like one of Ovation's new plug-in electrified acoustic guitars) is almost completely in the lead. (13.375/15)

2. "Ann Arbor" (5:00) another acoustic guitar tune that sounds more like it came out of the Folk or World Ethnic traditions while Larry strums his steel-string acoustic tout seul. After about 30 seconds of introductory strumming, he switches to more classical-sounding picking, but then, in the third minute, he returns to more folk- (or bludgrass-) oriented strum and picking while Ralph, Glen, and Collin join in. Yes, bluegrass might be the more accurate category for this spirited music. Ralph, by the way, does an admirable job of harmonizing and countering Larry's picking, strumming, and riffing. Nice little tune. (9/10)

3. "Pavane for a Dead Princess" (5:39) Larry's one solo performance on the album sounds like the folk musings of any number of acoustic guitar masters from the 1960s and 1970s--even/especially, to me, Anthony Phillips. (It reminds me of the experience of listening to Ant's 2005 guitar master class, Field Day.) Beautiful music with quite evocative if anachronistic melody lines. (9.125/10)

4. "Improvisation on Robert de Visee's Sarabande" (5:20) more anachronistic acoustic guitar play, this time capturing a far-older feel than that of the  previous song. Even with the note-bending and other dynamic picking techniques added in the third minute (as Ralph, Glen, and Collin gradually "sneak" in). Some absolutely gorgeous melodies played with some rather extraordinary emotion. I think every guitar fan should hear this very special song. It is a masterpiece! (And a tear-jerker!) (10/10)

5. "Song for Jim Webb" (3:15) Considering the dedication offered in the song's title, there is a surprising lack of "earworm" melody hooks that was so typical of the compositions of Jim(my) Webb (author of songs like "Wichita Lineman," "MacArthur Park," By the Time I Get to Phoenix," and "Up, Up and Away"). Also, the spaciousness and simplicity of the music doesn't give much opportunity for the Oregon boys to contribute. (8.75/10)

6. "Julie la Belle" (5:46) an oddity that takes a while to develop, form, and reveal its true nature and style (something from the era of the Beat Generation). I like Larry's play with harmony and melody but Glen and Collin's Beat contributions are almost embarrassing. In the fourth minute, however, the song stops and picks back up in a totally different direction: this one feeling much more French Canadian--like the music of proggy folk bands like Harmonium and Conventum. I absolutely LOVE those last two minutes! (8.875/10)

7. "The Restful Mind" (3:09) another gorgeous solo steel-string guitar song built around arpeggiations of a circle of chords Larry has put together. Nice. (8.875/10)

Total Time: 36:25

This is not your typical Jazz-Rock Fusion (or jazz, prog, folk, world music, or even guitar) outing. Despite the accreditation of the Oregon contingent, the album is truly a solo acoustic guitar album: other than the opening song, there is little "extra" that Glen, Collin, or even Ralph add to Larry's music.

90.667 on the Fishscales = A-/five stars; a minor masterpiece of excellent acoustic guitar compositions. A pleasant and pleasurable listening experience of all lover's of the acoustic guitar.

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:
- Joe Beck / Fender Rhodes bass, string synthesizer, acoustic guitar & producer (10)
- Mike Mandel / piano, bass synthesizer
- Danny Toan / guitar (3)
- 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 folkie blues-rock 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.

LARRY CORYELL with PHILIP CATHERINE Twin House (1977)

Virtuosic guitar duets. Four songs composed by the Belgian master, one by Mr. Coryell, and three covers (Keith Jarrett, Django Reinhardt, and Jimmy Webb). Twin House is quite possibly my favorite album of Larry's.

Five star songs: Larry's 1. "Ms. Julie" (5:29) (9.75/10); Philip's 3. "Airpower" (4:03) (9.625/10); the boys' John Renbourn-Bert Jansch treatment of Jimmy Webb's 6. "Gloryell" (7:20) (13.75/15), and; the repeated flashes of blinding speed on the otherwise-surprisingly gentle bluesy Django song, 7. "Nuages" (5:20) (9.125/10).

Line-up / Musicians:
- Larry Coryell / 6- & 12-string acoustic guitars
- Philip Catherine / 6- & 12-string acoustic guitars
With:
- Joachim Kühn / piano (10)

LARRY CORYELL with ALPHONSE MOUZON Back Together Again (1977)

And John Lee and Philip Catherine as well! The result is some of Larry's finest "classic rock" feeling compositions and performances of his career. The album was released by Atlantic Records in June of 1977.

Line-up / Musicians:
- Larry Coryell / lead, rhythm & acoustic (10) guitars, vocals (2), co-producer

- Alphonse Mouzon / drums, vocals, co-producer
With:
- Philip Catherine / rhythm guitars; lead guitar (1, 3, 6), acoustic guitars (1, 3, 10)
- John Lee / bass; backing vocals (8)
- Cheryl P. Alexander / backing vocals (7)
- Tawatha Agee / backing vocals (7)

1. "Beneath the Earth" (3:03) excellent Power Fusion from Alphonse straight out of the blocks! What an opening! And then John Lee and Philip Catherine's acoustic guitar support: Awesome! I can't remember hearing this Rock 'n' Roll electric guitar tone used by Larry before. (9.375/10)

2. "The Phonse" (3:48) Southern-fried funk of the highest order! And, surprise, surprise! It's a John Lee composition! Larry just cooks it--on multiple tracks, I believe. (9.25/10)

3. "Transvested Express" (3:51) this very complicated Philip Catherine composition sounds as if Al Di Meola were playing (and composing) with The Dixie Dregs. (Thank you, Mr. Catherine!) It's very sophisticated and unpredictable Power Fusion with an acoustic orientation; this song cooks and impresses with every turn--and not just the two guitarists but John and Alphonse as well! Probably my favorite song on the album. (9.5/10)

4. "Crystallization" (3:19) a kind of Steely-Dan-ed two-chord vamp over/within which Larry burns it up using multiple tracks as if he was with Jan Akkerman in a Thin Lizzy world. (9.125/10)

5. "Rock 'n' Roll Lovers" (4:04) another two-chord blues-rock construct (for the verses) over which Larry just cooks and delivers on all counts. Al, too! Rockers will absolutely love this song (as promised by the title). It could use a little more variety and/or development. (8.875/10)

6. "Get On Up (We're Gonna Boogie)" (2:50) Did I mention Thin Lizzy? Surprise! Maybe it's the JB's! One of Al's songs that inspires Larry to soar. (8.875/10)
 

7. "Reconciliation" (2:34) one of Larry's songs on which we get to hear John Lee trying out his slap bass techniques while Al screams out the song title from the background while Larry and Philip duke it out with their rock guitars. Another song that would have benefitted from a little more development. (8.875/10)

8. "Back Together Again" (3:05) An Alphonse song with singing of the title throughout while John's deep funky bass reverberates at the bottom and Larry near-constantly flies around on his rock-effected guitar over the top. The sound, styles, and constructs are sounding too much the same, not varied enough as they were with the opening few tracks. (8.75/10)

9. "Mr. C" (3:28) A Coryell composition that actually shows some of the sophistication and complexity of the album's opening songs. Though Philip Catherine is only listed as the rhythm guitarist for this one, it's hard to believe that all of the layers of lead legatos and ostinati woven together are just Larry (but entirely possible). The team is dialed in! (9/10) 

10. "High Love" (5:51) acoustic guitars rule on this one though John and Al are playing as usual (though, a little mechanically despite the numerous tempo and thematic shifts occurring throughout the song). The first soloist is Philip and, once again, he proves why he should be included in the conversation of the "greats." So smooth! But then Larry takes his turn and simply blows me away (and Phillip out of the water). Then Al gets his solo time in the fourth and fifth minutes--wowing us with subtleties and speed more than power or syncopation. BUT, it's really the two guitarists who steal the show. (9.125/10)

Total Time 35:53

What we have here is a collection of short but impactful rock tunes that often bridge styles and genres but always inspiring Larry to very high levels of energy and displays of amazing skill on an instrument that we don't get to hear him let loose on very often: the Rock 'n' Roll electric guitar. Though John Lee and Alphonse Mouzon represent themselves very well, they do not feel quite as free or inspired as Larry and Philip (especially Larry). Knowing as I do what a rough period this was for Larry, I am very pleased and proud of his ability to focus and hone it in for the recording sessions that led to this album.

90.75 on the Fishscales = A-/five stars; a minor masterpiece of virtuosic guitar playing--electric and acoustic--over some truly powerful Rock-infused Jazz-Rock Fusion. If you like to impressed by guitar skills, I highly recommend you give this album a listen. An over-looked gem!

LARRY CORYELL with PHILIP CATHERINE Splendid (1978)

Mostly-acoustic duets recorded in Hamburg, Germany, at Rüssl Studios in February of 1978, and then released by Elektra Records later in 1978. The album is also interesting for Philip's use of a Jaco Pastorius-sounding fretless electric guitar on several songs. 

Five star songs: Phillip's dynamic-then-sensitive 3. "Transvested Express" (5:23) (9.125/10); Larry's four-chord pop-feeling "No More Booze" (3:46) (9/10); Julie Coryell's perfectly pastoral, 8. "A Quiet Day in the Spring" (4:04) (9/10), and; the amazingly cinematic rendering of a Jimmy Giuffre Country-Western song, 9. "The Train and the River" (4:47) on which Larry's solo guitar is somehow given a sitar sound. (9/10). 

LARRY CORYELL Standing Ovation (1978)

All-acoustic solo guitar music (except for the two-minute piano piece entitled "Piano Improvisation") performed on Larry's new Ovation guitars--both 6-stringed and 12-stringed. It is an album that Larry was always very proud of--which made me listen to it with serious attention. There is some fine guitar playing here, often performed on multiple tracks (all with his own guitar playing)--some of which has relevance to the Jazz-Rock Fusion world. and much of which is likable (like his albums with Philip Catherine and Joe Beck and John Scofield)--but just not enough inside the scope of J-R F to be recommended as such.

Favorite songs: the 12-string strum-backed blues BYRDS tribute, 2. "Excerpt" (4:01) (9/10); the beautiful and exuberant virtuoso performance of Larry on multiple guitars for the gentle-starting but rousing developing 3. "Ravel" (3:47) (9/10); the melodic and deceptively complex 12-string extravaganza of 4. "Wonderful Wolfgang" (4:52) (8.875/10), and; the SHAKTI-like duet with Usted Ali Akbar Khan partner and protégé, violinist Lakshmi Subramanian (7:37) (13.25/15).

LARRY CORYELL Difference (1978)

Six Larry Coryell originals and one cover of a Herbie Mann song ("Memphis Underground") were recorded and edited in New York City between Electric Lady Studios and Sound Ideas Studios and the 1975 Montreux Jazz Festival then released by the French label Egg sometime in 1978.

Line-up / Musicians:
- Larry Coryell / acoustic & electric guitars
With:
- Steve Khan / guitar (3)
- Arthur Rhames / guitar (1, 5, 7)
- Glen Moore / acoustic guitar (1, 5, 7)
- Michael Brecker / saxophone (1, 3, 5, 7)
- David Sanborn / alto saxophone (3)
- Don Grolnick / keyboards (3)
- Will Lee / bass
- Tony Williams / drums
- Steve Gadd / drums (3)

1. "Octaves" (3:49) Larry, Oregon's Glen Moore, and "the forgotten virtuoso" Arthur Rhames (who died at tragically at age 32 in 1989 as result of the first wave of the AIDS epidemic) on guitars at the same time while Will Lee and Tony Williams man the rhythm section. Saxophonist Michael Brecker commands the foreground when he enters, except when the lead electric guitar is playing, then that person (probably Larry) is stepping on everyone's toes. But it works! Even when all three guitarists are flying around their fretboards it still somehow works. Even as they slow down in the fourth minute, it still works! Interesting. And cool! (9.25/10)

2. "Acoustic Solo" (5:35) Yes, Larry is in love with his acoustic guitars--his new Ovations, no doubt. There are some excellent nods here to Bill Evans and John McLaughlin (intentional?) as well as many other great contemporary guitarists. As a whole this isn't anything so very exceptional, but as a conglomeration of many styles, riffs and themes it is a very fun listen. (9/10)

3. "Memphis Underground" (3:38) I know Herbie Mann's version of this song and the opening of this version is actually something quite refreshing: truly an interpretation not a note-for-note rendering. I barely notice the presence of David Sanborn's sax or Don Grolnick's keys! (9.125/10)

4. "Improvisation" (2:32) all solo acoustic guitar that would make Al Di Meola fans sit up and drop their jaw. (4.625/5)

5. "Picean Moon" (5:58) a repeat of the line-up for the album's first song, "Octaves" delivers more lushly-guitar-estrated music with gentle sax woven into the fabric as Tony Williams' (distant) cymbal play seems to enhance and enrich the weave of the three guitarists but I feel somewhat cheated by having to strain so hard in order to hear Tony's drums. Overall, this song feels and sounds as much like an OREGON or CoDoNa song as anything by  (9.125/10)

6. "Serabond" (4:45) a recording of a live acoustic guitar performance (probably captured at the 1975 Montreux Jazz Festival) which seems to express various interpretations of Rodrigo's Adagio melodies in his "Concierto de Aranjuez." (9/10)

7. "Aquarian Mode" (5:07) I can almost hear Tony's drums and Will Lee's bass as Michael Brecker's sax and Arthur Rhames and Larry's guitars seem to dominate the foreground of the sonic field. I wish the mix were better--I find it hard to believe that it couldn't have been--despite the fine performances by the lead instruments. Larry and "the scariest musician of all-time" (sax, piano, and guitar master Arthur Rhames) burn it up. (8.75/10)

Total Time 31:24

It's hard to believe how far into the background Tony Williams' drums are mixed in each and every one of these songs.

90.58 on the Fishscales = A-/4.5 stars; an album of exciting and different Jazz-Rock Fusion songs that are marred (and demerited) by poor sound mixing and the album's overall brevity.

LARRY CORYELL Tributaries (1979)

Though "The Guitar Trio" was made famous with the lineup that included Al Di Meola, Paco De Lucia and John McLaughlin, Larry was actually in the Trio's original touring lineup. Obviously, Larry was really into the trio format. Though Larry had been doing guitar duet performances, songs, and albums for years (with the likes of John McLaughlin, René Thomas, Steve Khan, Ralph Towner, Al Di Meola, and Philip Catherine), the idea of the "Guitar Trio" has been attributed to British promoter Barry Marshall. It began in 1979 with Larry serving among the Trio's first membership (as evidenced by his appearance in the YouTube video footage from 1979 of Larry performing on stage with John and Paco in their rendition of The Mahavishnu Orchestra's "Meeting of Spirits") but he was soon asked to leave (and famously replaced by Di Meola) due to issues with his (at the time) severe drug addiction getting in the way with both his night-to-night skill level during performances as well as his reliability to the tour's schedule.

Line-up / Musicians:
- Larry Coryell / acoustic guitar
- John Scofield / acoustic guitar
- Joe Beck / acoustic & 12-string guitars

With Tributaries we get a look at Larry's more personal, more Americana expression of the Trio format with friends John Scofield and Joe Beck. The music here is actually quite sublime--especially for those of us who like a little less fire and a little more beauty and emotion in their guitar music--like fans of artists like AMERICA, ANTHONY PHILLIPS, JOHN PRINE, LEO KOTTKE, BERT JANSCH and JOHN RENBOURNE, PHILL KEAGGY, JOHN FAHEY, and, of course, DJANGO REINHARDT.

B+/4.5 stars; Recommended--especially for guitar lovers.

LARRY CORYELL Return (1979)

Recorded on June 4-6, 1979, it was then released by Vanguard Records later in the year.

Line-up / Musicians:
- Larry Coryell / guitar
With:
- Darius Brubeck / piano
- Chris Brubeck / bass
- Dan Brubeck / drums
- Ray Mantilla / percussion

1. "Cisco at the Disco" (5:46)

2. "Rue Gregoire Du Tour" (4:36) Florida cabana/lounge music; Smooth Jazz despite the virtuosity of Larry's guitar playing. (8.825/10)

3. "Five Mile Island" (5:49)
4. "Return" (5:34)
5. "Sweet Shuffle" (6:20) a cover of his own blues-based song that he'd recorded acoustically for his 1978 album release, Standing Ovation. I'm not much of a fan of either version. (8.75/10)

6. "Mediterranean Sundance / Entre Dos Aguas" (5:48) Larry's cover of Al Di Meola's famous song is obviously a carry-over from the work he did with John McLaughlin and Paco De Lucia in the first line-up of the famous Guitar Trio. Larry does a fine job with his band, despite his choice to give it his jazz-guitar sound instead of an acoustic or fiery loud Rock distortion sound. (9/10)   

Total Time 33:53

B/four stars; a solid and enjoyable set of songs exhibiting Larry's guitar virtuosity quite well.

It has taken me quite some time to move through Larry Coryell's discography but I am very grateful for it: I now have a much greater respect, appreciation, and admiration for Larry's talents. (I had not really enjoyed his style of guitar shredding--nor the tone he seemed to get from his picking style, but now I've been able to get used to it. I appreciate the fact that he changed his tone and picking style more than I ever thought, and appreciate him for the prodigious and chameleonic productivity he accomplished.) I've also learned to admire him for breaking free of a rather damaging heroin addiction (he got kicked out of the original "Guitar Trio"! Replaced by technical hot-shot Al Di Meola!) Watching video footage of his performances in the 21st Century really helped me to not only appreciate this amazing talent but also to come to like the guy!

My Highest Rated Albums from Larry Coryell

Tomorrow Never Knows - STEVE MARCUS (1968) - 92.667

Twin House - LARRY CORYELL with PHILIP CATHERINE (1977) - A/five stars

Offering - LARRY CORYELL (1972) - 91.667

Level One - LARRY CORYELL'S ELEVENTH HOUSE (1975) - 91.62

Spaces - LARRY CORYELL (1970) - 90.94

Back Together Again - LARRY CORYELL with ALPHONSE MOUZON (1977) - 90.75

The Restful Mind - LARRY CORYELL (1975) - 90.667

Barefoot Boy - LARRY CORYELL (1971) - 90.59

Difference - LARRY CORYELL (1978) - 90.58

Lofty Fake Anagram - THE GARY BURTON QUARTET (1967) - 90.42

Basics - LARRY CORYELL (recorded in 1968, 1969; released in 1976.) - 90.167

Introducing The Eleventh House with Larry Coryell - THE ELEVENTH HOUSE (1974) - 89.75

Tributaries - LARRY CORYELL (1979) - B+/4.5 stars

Aspects - LARRY CORYELL featuring THE ELEVENTH HOUSE (1975) - 89.53

Live at The Scene February 22, 1967 - THE FREE SPIRITS (2011) - B+/4.5 stars

Splendid - LARRY CORYELL with PHILIP CATHERINE (1978) - B+/4.5 stars

Coryell - LARRY CORYELL (1969) - B/four stars

Return - LARRY CORYELL (1979) - B/four stars

Duster - THE GARY BURTON QUARTET (1967) - 89.167

Lady Coryell - LARRY CORYELL (1968/9) - 89.12

The Dealer The Dealer - CHICO HAMILTON featuring Larry Coryell (1966) - 88.75

The Lion and the Ram - LARRY CORYELL (1976) - 88.61
The Real Great Escape - LARRY CORYELL (1973) - 88.367

Planet End - LARRY CORYELL (1975) - 88.04

The Jazz-Rock Syndrome - DON SEBESKY (1968) - B/four stars

Out of Sight and Sound - THE FREE SPIRITS (1967) - C+/3.5 stars

Not yet reviewed:

A General Tong Funeral - THE GARY BURTON QUARTET with Orchestra (1968)
The Distant Galaxy - DON SEBESKY (1968)

I urge everybody to check out this YouTube video biography that British music historian Andy Edwards posted in 2025.