body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

11 Jan 2017

Larry Coryell “Coryell” 1969 US Jazz Rock Fusion second album

Larry Coryell “Coryell” 1969 US Jazz Rock Fusion second solo album
As one of the pioneers of jazz-rock – perhaps the pioneer in the ears of some – Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the ‘60s and '70s is missing on CD, tied up by the erratic reissue schemes of Vanguard, RCA and other labels, and by jazz-rock’s myopically low level of status in the CD era (although that mindset is slowly changing). 

According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965, he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton’s band. In 1966, he made a startling recorded debut on Hamilton’s The Dealer album, where his blues and rock ideas came to the fore, and that year, he also played with a proto-jazz-rock band, the Free Spirits. Coryell’s name spread even further in 1967-68 when he played with Gary Burton’s combo, and he was one of the most prominent solo voices on Herbie Mann’s popular Memphis Underground album (recorded in 1968). He, Mandel and Steve Marcus formed a group called Foreplay in 1969 (no relation to today’s Fourplay), and by 1973, this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality.In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco DeLucia, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton and John Abercrombie for the Jazzvisions series. Coryell has also recorded with Stephane Grappelli, Charles Mingus, Sonny Rollins and Kenny Barron, and has taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov. In other words, Coryell will probably remain as eclectic as ever throughout his career, which will no doubt make life difficult for musicologists with a yen for pigeonholing. Coryell’s career in the 21st century has been just as active. 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006, he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle…………….. 

Still obscure and unappreciated, this sensational guitarist had a strong outing on this late-'60s release. Rhythmic, melodic, and even lyrical at times, his masterful playing is especially impressive compared to his ill-advised singing. But he’s not deluding himself, and most of the tracks are instrumentals. The highlight is the fearsomely funky “The Jam With Albert.” Coryell later issued some wonderful acoustic albums, but this one is electric in a way many guitarists could not imagine, let alone realize…. by Mark Allan…… 

Larry Coryell is the greatest thing to happen to the guitar since stretched gut. The permanent evidence of this has been sparse, however–a bad record with the Free Spirits, timid ones with Gary Burton, a somewhat over-avant performance on the Jazz Composer’s Orchestra set, and an inspired chorus here or there with jazz-rock leaders like Steve Marcus and Don Sebeskey. This is far more satisfying but still crabbed and uneven. It includes some wonderfully funny wah-wah work alongside apparent homages to Wes Montgomery, near-parody singing alongside a couple of tracks (one composed by Coryell and featuring Elvin Jones, one composed by Junior Walker) that approach the soaring pyrotechnics Coryell can produce when he is good live. Recommended…. 

This is Larry Coryell’s second solo album, and it’s a real mind blower. Coryell is often categorized as a jazz guitarist, but this one is a jazz - rock - funk fusion. The first track “Sex” is a mind numbing psychedelic groove complete with crazy leslied vocals. An all around good album to get down to, with some soft moments as well…………. 

Texas-born white guitarist Larry Coryell (1943), who relocated to New York in 1965, formed an early jazz-rock group, the Free Spirits, that released Out of Sight And Sound (1966). After working in a much more influential group of fusion jazz, Gary Burton’s quartet (1967-68), Coryell emerged as one of the most innovative electric and noisy guitarists of all time, competing with his more famous contemporary Jimi Hendrix. His early classics, frequently recorded in guitar-bass-drums trios, included: Stiff Neck on Lady Coryell (1968), featuring Elvin Jones on drums, that focused on Coryell’s youthful speed and metal overtones (and, alas, his monotonous singing), The Jam With Albert on Coryell (april 1969), Wrong Is Right on Spaces (july 1970), featuring the stellar cast of John McLaughlin on guitar, Miroslav Vitous on bass and Billy Cobham on drums, Souls Dirge on Fairyland (june 1971). Coryell approached the intensity of progressive-rock with the 20-minute jam Call to the Higher Consciousness on Barefoot Boy (1971), featuring Steve Marcus on saxophones, Micheal Mandel on piano, Roy Haynes on drums, bass and percussion, and by now he was less interested in acrobatic solos than in group improvisation. After Offering (january 1972), a more straightforward quintet with Mandel and Marcus (Foreplay), and The Real Great Escape (1973), a pop album heavy on the vocals and the synthesizers, Coryell settled down with the quintet Eleventh House, soon destined to become one of the most famous jazz-rock groups of the 1970s (trumpet, bass, Alphonse Mouzon on percussion, Mike Mandel on piano and synthesizer), that released Introducing The Eleventh House (july 1974) and Level One (1975). Despite the hype, the group’s music was not particularly relevant. 
Coryell sensed the crisis of the genre and made a dramatic u-turn with the relaxed and mostly acoustic The Restful Mind (1975), featuring three members of Oregon (guitarist Ralph Towner, bassist Glen Moore, percussionist Collin Walcott), that brought out his neoclassical and folkish side. 

From 1975 Coryell concentrated on acoustic guitar, specializing in albums for solo guitar and guitar duo, such as the two duo albums with Philip Catherine, Twin House (1977) and Splendid (february 1978). He briefly returned to electric fusion jazz with Cause And Effect (may 1998), but eventually settled for a comfortable and senile revision of bebop classics……….. 

Larry Coryell - guitar, piano, electric piano, vocal 
Mike Mandel - organ & piano (4) 
Jim Pepper - flute 
Ron Carter - bass (2 & 7) 
Albert Stinton - bass (3,5) 
Chuck Rainey - bass (1,4,5,6) 
Bernard “Pretty” Purdie - drums 

1.Sex (3:55) 
2.Beautiful Woman (4:38) 
3.The Jam With Albert (9:23) 
4.Elementary Guitar Solo # 5 (6:53) 
5.No One Really Knows (5:10) 
6.Morning Sickness (5:24) 
7.Ah Wuv Ooh (4:26) 

johnkatsmc5, welcome music..