LARRY CORYELL

An album with a most impressive list of collaborators!

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.

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.

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.

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

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

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

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

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

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

Total Time 39:09

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

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

4.5 stars. The closer "Wes And Jimi" is named after two of the greatest guitarists in the Jazz and Rock worlds and this entire album honours both of those styles of music. This is the heaviest record that I've heard Coryell on and he is a big reason for this with his powerful playing at times. He also hits us with that jazzy, fast paced picking. There really is two sides to this album and while I prefer the Rock style, as long as Steve Smith is the drummer here I'm happy. Maybe the best I've ever heard him.

"Cause And Effect" was released in 1998 not exactly a banner year for my music so here's one of the best from then. Tom Coster completes the trio on keyboards, of course having a couple of stints playing with SANTANA and playing electric piano on that "Caravanserai" album. Victor Wooten plays bass on the opener here while Benny Rietveld plays bass on three other tracks. There really should have been a bass player as part of this band since my top four tracks are the ones with the bass on them. Still what a pleasure this has been, even the more traditional sounding jazz/fusion tunes blow me away by the incredible instrumental work by all.

Besides the closer which is my fourth favourite, I have to go with the opener with Wooten on it, as well as the next track "Plankton" which is quite heavy, all with bass. The best one though might be "Night Visitors" and it's revisited later on, it that's good with "Night Visitors Revisited" a short 2 plus minute version. Smith is all over this and I just can't say enough about how he changes things up playing in these different styles and all the while sounding perfect. Coster by the way is playing mostly electric piano, organ and electronics here. Not my favourite keyboardist by a long shot but these three guys did great here. Sound quality couldn't be better.

A special album that is the best from both worlds. These guys brought it and left it. This record has been on the cusp of being added to my Jazz and related since I did the list, time to finally add it.

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).

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.

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

Tapping into some of his more adventurous New York City-based friends this was what he came up with. Released in February of 1974.

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.

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.

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 what 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.

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, Mahavishnu Orchestra, Weather Report, and Return to Forever, respectively. 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 Return to Forever (February 2 & 3, 1972, released in September).

A-/five stars; a minor masterpiece of early Jazz-Rock Fusion.

I came round to this album after going through the Larry Coryell discography. Though labeled as jazz-rock album, the jazz part of the description is questionable. I would describe it is an upbeat rock album with traces of psychedelia supported by guitar and flute. Forays into jazz are heard when listening to the muscular saxophone lines. Coryell keeps a surprisingly low profile when playing and the future potential is yet to be displayed. Some tracks have a grooving/bluesy character ("LBOD") or have an accessible melody ("Girl of the mountain"). Definitely interesting to listen to it for historical reasons, this album pales in the contemporary world of fusion and jazz and it not really distinguishable on its own.

3.5 stars. I'm sure a lot of people over the years have picked this album up just to hear what Larry Coryell sounded like in 1967. At least that's why I got it. This is the band THE FREE SPIRITS who released this one record in 1967, a five piece with Coryell singing and playing lead guitar. The other four guys are Jazz men who had to be convinced to lower their standards to play this poppy, straight forward music. There's a fair amount of variety here though with blues, r&b, jazz rock, psychedelic and pop being touched on. Larry does a good job on vocals but man he's almost invisible when it comes to the guitar. This is more about the smooth sax. I'm sure there were some give and take going on during these sessions.

That opener is a tough one for me but the next track "I'm Going To Be Free" is pretty cool with Coryell playing sitar. A huge BEATLES and Hendrix fan we're just missing the Hendrix part of the equation on this album. Coryell is doing his Bob Dylan impression on "Girl Of The Mountain", some flute here too. Jazzy guitar on "Cosmic Daddy Dancer". Back to sax on "Bad News Cat" a pretty good number. Catchy like a lot of this. More of that sax on "Early Mornin' Fear" and "Angel's Can't Be True" before ending with "Tattoo Man" a poppy closer. Honestly a tough listen but again this is 1967!

Bumped to 3.5 stars because this is at times one of the earliest examples of jazz/rock and I like that adventerous spirit even with the variety. Still if you want to hear Coryell at his best check out his "Barefoot Boy" and "Offering" albums or there's a couple he did with THE ELEVENTH HOUSE, then that ET CETERA record "Knirsch" he guested on.

Late-Decade Larry Returns With Infectious, Fiery Groove

Coryell (1969) is the sophomore release by one of Fusion's foundational participants/minds, Larry Coryell, released during the great explosion of Jazz-Rock and Fusion in the late-1960s. The album's drummer is the all-important Bernard Purdie. Fellow Free Spirit Jim Pepper provides reeds, and the responsibility of bass falls on three performers: on acoustic double bass[???], the incredible Ron Carter and the lesser known Albert Stinson, and on electric, for the majority, Chuck Rainey. [The credits here simply don't match up exactly with what's on Wikipedia; someone with the real liner notes should help haha.] I'm unsurprised, but I'm only getting more and more warmed up to this man's work. Hope you enjoy likewise.

"Sex" launches the festivities (quite the opposite to how most affairs begin haha), and with the use of Mike Mandel's organ, I was launched into the stratosphere. Larry's more solid Rock vocals are backed by a steady beat, further fortified by Chuck Rainey's forward driving performance. The spacy effect is only built up with Larry's crunchy, Wah-laden guitar solo. Naturally sexy still, "Beautiful Woman" is next, a bluesy number with soft accompaniment, which opens and speeds up a minute in. Really delightful, and then yet another, much spicier solo from Larry. Sheesh... Give it a try; it's pretty daring and just damn cool.

Back into a solid Blues Rock, though heavier than most from said idiom, "The Jam with Albert" is next, and the longest at over 9 minutes. Coryell's knowledge of the guitar is astounding, and the band is understandably hot fire. Purdie is so badass, and it needs to be said, but I don't think Stinson is even possibly playing an upright here; it's too free-flowing and beefy. These thoughts only arose because he's killing it just much as Pretty Purdie. I'm often hard-pressed to be im-pressed by such an open jam like this, though really that's the context that would be most appropriate to show what you've got as a group (of individuals haha).

The funnily titled "Elementary Guitar Solo No. 5" follows and... I'm just not buying that, Lar [Come on, you're incredible]. After an exact minute of clean soloing, the band enters in for a well-performed Rootsy number as Mandel switches to acoustic piano. Agnostics everywhere, rejoice! "No One Really Knows"! Haha! This number keeps it low and slow, feeling and emotive. After one more 1-minute intro section, Purdie brings us back into a sweet groove. There's plenty to latch onto here (I had to work hard to unfurrow my brow). Some of his guitar solo here is just searing emotion. I'm certainly rejoicing.

"Morning Sickness", despite the name, brings us back into the light. Groovy. This track just moves! Rhythm section with Rainey at the helm is quick and feisty. The mood shifts slightly approaching minute 4 as Larry delivers some angularity and familiar dissonance. Finally, Jim Pepper joins us with sweet, sweet flute on the closer, "Ah Wuv Ooh". The guitar effect used here reminds me of... something from The Beatles. A softer tune, its composition is certainly ear-catching. The crescendo around minute 2 is something mighty powerful. Crazy amount of tension here. With "Sex", this is the best the album had to offer, for sure.

The first of Larry Coryell's solo material, Lady Coryell hit the shelves a year after the sole release by Jazz Rock foundations The Free Spirits (Out of Sight and Sound, 1967), and it features throughout that group's drummer, Bob Moses. On two of the tracks, though, is veteran Jazz drummer Elvin Jones, probably best known for his direct association with John Coltrane, who had unfortunately passed away in '67. This was my second listen to Lady Coryell. Certainly no regrets there.

When "Herman Wright" begins, it's certainly plenty familiar, and yet is stylistically mysterious to me. The guitar has a strange, synthetic buzz. Vocally and, in part, compositionally, it weirdly reminds me most immediately of Procol Harum [I feel the best descriptor I could give it was 'soulful']. I know I've heard Larry's voice before, but on Lady Coryell it's all him. We then enter plenty familiar territory on "Sunday Telephone", a groovin' Blues Rock. Larry is a killer guitarist, as many on the site can verify, and his solo carries on that buzzing, fuzzing Wah throughout. Up next is one that I recall enjoying before, "Two Minute Classical", a flow of chords over a light, straightforward beat. Certainly in the context of a late-60s Rock ensemble, the title tells it all. Killer solo here at the end.

"Love Child is Coming Home" takes all semblance of what you'll think this album is about and just about throws that out the window. This is a drunk-lilt Country song, end of the day. Not the greatest exploration of this kind that I've heard in the world of Jazz; I mean, have you heard Gary Burton's Tennessee Firebird?! The track here's not terrible, I do suppose, but I'm not itchin' to hear this number ever again. Happily we turn to our title track, "Lady Coryell", at first a mix of American folk tradition and Avant-garde classical. Larry is on the guitar and the bass on this one (bass is actually only ever covered by someone else, Jimmy Garrison, on one track). I quite like this one. It has a sort of driving, rolling quality to it. There are sonic moments that feel way ahead of their time; especially with some of the dissonance experienced in the start, I honestly was thinking of Polvo(!). The obvious context here is actually moreso Psychedelia at large, but I feel the drone starting in minute 3 is straight-up Raga. As we approach the end, the mix of constant arpeggiated guitar and solo guitar meet in a swirling vortex. Seriously, with the Polvo thought, this could totally be perceived as proto-Math Rock, through and through.

We then get Bluesy meditative on the aptly titled "The Dream Thing", another which has a 'sonic signature' that feels so ahead of its time! Absolutely amazing sound. Check it! On the other side of The Blues, so to speak, is "Treats Style", a familiar guitar-led Post-Bop perhaps? Hard for me to say... As much as the Blues style at large does little to please little ol' me, the sound of this'n is pretty nice. And time and again, Larry proves himself to be one of the greats. Happily even so, we turn to melancholy on "You Don't Know What Love Is". Sweet and warm electric soloing cleanly slides across perfectly understated acoustic guitar. Truly delicious stuff.

As we approach the end, we next have "Stiff Neck", similarly sparse as the rest. I feel stylistically, Larry Coryell sounds a bit like Pat Martino here; truly Bop-inspired, despite its minimal mix. Around minute 2, he flips the switch and we get some dirty distortion, although nothing else, in composition or performance, really changed. Kind of struck me odd, I guess. We fill out the headphones finally once more on our last track, "Cleo's Mood", a song approaching something rather dramatic and, if I may say so, sexy. Ooooh, is that a backtracked guitar solo?! Always a treat to hear something like this, regardless of when and where, amirite? Thank you, George Harrison, perhaps? [I think George goes for a backtracked-solo hattrick on Revolver 2 years prior...] Another track with little compositional substance, but the soloing throughout had its moments (like around 2:15 to 3:15).

All in all, a pretty solid solo debut. But it felt a little too 'solo' to me, if you know what I mean. Cool ideas, but I wish they were fleshed out a tad more at times.

True Rate: 3.25/5.00