LARRY CORYEL & PHILIP CATHERINE: TWIN-HOUSE

With the onslaught of the fusion jazz movement in the early`70s, of which both Coryell and Catherine were proponents, an album featuring more traditional approaches to the guitar was most welcome back in `77 when the first of the acoustic recordings presented here was released. Although the disc takes it`s title from the first of two albums featured here, 1977`s "Twin House", it also contains five samples from "Splendid" released the following year which had similar musical textures which add a bit to the confusion. Why the record company didn`t just go the whole hog and release both in their entireties is one of the many mysteries of the music business. At least the "Twin House" tracks precede the "Splendid" tracks and are interspersed with a previously unreleased lost track from the "Twin House" session which only took one day to complete. So there`s something here for those who bought vinyl copies in the `70s as well.

Coryell had previously worked with Steve Khan in a duo acoustic setting but these performances with Catherine are much more lush and rythmic due to Catherine`s Django Reinhardt inspirations which also seemed to rub off on Coryell to a certain extent here. This is more than evident on a couple of Coryell`s solos particularily on "Nuages" one of two Reinhardt originals presented here. Despite their different cultural and musical backgrounds, Coryell beginning his career in NYC and Catherine being of Anglo/Euro descent, the two guitarists paint themselves on to a common musical canvas with ease. Both take turns starting melodies, accompanying one and other, improvising and sometimes committing errors which were left in for the more discerning of listeners to detect.

The separation between the two guitarists is very distinct with the exception of the more intricate parts of "Airpower" and "Mrs. Julie" which contain some of the few overdubs and alternate tunings on the 12 string guitar. Coryell can usually be distinguished by his somewhat more anxious playing while Catherine tends to stay in Django mode with both never ceasing to dazzle both technically and musically.

Both "Twin House" and "Splendid" were hailed as guitar player`s albums when they were released in the `70s and their appeal in this respect has not diminished with the passage of time. The layman will also glean tremendous satisfaction from these guitar duets ( German pianist Joachim Kuhn helps out on one track, "Dance Dream" ) due to the rythmic aspect which make the pieces constantly bright and exciting. If you are into the late 70s/early 80s super trios wihich featured John McLaughlin, Paco deLucia and Coryel who was later replaced by Al DiMeola, these recordings provide a more tradional modern approach to acoustic jazz in the true sense of the word. Excellent selection from two outstanding jazz recordings of the `70s and an essential for guitar fans of that period.