Larry Coryell & Michal Urbaniak – A Quiet Day In Spring (1985)

FrontCover1Although originally associated with fusion and then acoustic explorations, Larry Coryell has often shown that he can play practically any style. This little-known set finds him jamming with violinist Michal Urbaniak and bassist Jesper Lundgaard in a trio.

Although the music is generally straight-ahead, all seven of the selections were composed by either Coryell or Urbaniak, and the music is never all that predictable. Worth exploring.(Scott Yanow)

This is Larry in full acoustic flow in 1983 with Jesper Lundgaard on bass and Michael Urbaniak on Violin. Lots of fine 12 string playing here ,which sounds like nothing else in his repertoire, both behind the violin and in the soloing. Urbaniak is clearly influenced by violonist, Stuff Smith, who gets a name check on Stuff’s Stuff.

It’s a difficult style of violin playing to jump into but take your time and it all hangs together to create a fabulous album. (A. Garside)


Larry Coryell (guitar)
Jesper Lundgaard (bass)
Michal Urbaniak (violin)


01. Rue Gregoire Du Tour (Coryell) 7.34
02. Waltz No. 6 (Coryell) 4.55
03. Polish Reggae (Urbaniak) 6.34
04. A Quiet Day In Spring (Coryell) 6.43
05. Waltz No. 12 (Coryell) 9.28
06. Stuff’s Stuff (Urbaniak) 5.36
07. Miss Julie (Coryell) 10.19



Larry Coryell – Standing Ovation (1978)

FrontCover1A mixed bag with classical, traditional Indian songs, originals, and even modified funk played by Coryell and L. Subramaniam on violin and tampura. Coryell also plays a little piano and proves an effective partner, although sometimes the stylistic leaping around can be jarring. by Ron Wynn

Named after the guitar brand he uses, this album also implies “solo” written on the same level as the album. Indeed Standing Ovation sits firmly well in the late 70’s acoustic period of LC, beit solo or in duo, PC or SK and later the Meting Of The Spirit trio with PDL and JMcL. So we have an album where LC plays an excellent relaxing acoustic guitar, shifting from 16 to 12 strings at will, with one track where he tries himself on the piano, aptly titles Piano Improvisation and one more track, an Indian raga where he’s accompanied by violinist Subramanian. The acoustic guitar pieces (all written by him) range from roughly 2 minutes to just below five and show LC in varying moods featuring his mastery of the guitar and the depth of his talent, but the usual Reinhardt influences are certainly not as audible as it is on his other albums of the time.


Progheads will have a preference for the Indian raga Spiritual dance and its 7-mins+ music happiness, the only non-Coryell track of the album. As for LC’s performance on the piano, it is adequate and demonstrates a good understanding of the instrument, but understandably he’s less at ease. Not an essential album for progheads, although if you’re a Coryell fan, it will quickly become one. (by Sean Trane)


Larry Coryell (guitar, piano)
L. Subramaniam (violin, tambura on 09.)


01. Discotexas (Coryell) 3.27
02. Excerpt (Coryell) 4.00
03. Ravel (Coryell) 3.47
04. Wonderful Wolfgang (Coryell) 4.51
05. Piano Improvisation (Coryell) 2.07
06. Sweet Shuffle (Coryell) 4.57
07. Moon (Coryell) 3.29
08. Park It Where You Want (Coryell) 1.46
09. Spiritual Dance (Subramaniam) 7.36




Larry Coryell (April 2, 1943 – February 19, 2017)

More Larry Coryell:

Larry Coryell & Philip Catherine – Twin House (1977)

LPFrontCover1Twin House is an album by American guitarist Larry Coryell and Belgian guitarist Philip Catherine that was released by Atlantic Records in 1977. The duo recorded a second album, Splendid, in 1978. (by wikipedia)

The first of two fine guitar duet recordings with Phillip Catherine. Of the two, Catherine’s sound is more rooted in the tradition of Django Reinhardt and tends to be more introspective. Coryell is his usual incorrigible self; however, Catherine’s presence seemed to inspire more experimentation and intelligent playing on Coryell’s part. As expected, this session will appeal primarily to guitarists — and for good reason, as both players exploit their chops — but it should be noted that the compositions here are quite memorable. Whether soloing over one riff (“Mortgage on Your Soul”), playing the blues (“Twin House”), or showing off (“Airpower”), this is an excellent collaboration and one of Coryell’s most ambitious performances. (by Robert Taylor)

I heard Larry Coryell and Philip Catherine together for the first time at the Berlin Jazz ConcertPoster.jpgFestival in 1975. Their creative compability, the enthusiasm and mutual understanding inspired me to take them into the Olympic Sound Studios in London to cut “Twin House” in just one day. This was only possible because both the music and the artists were ready to go on.

“Twin House” became one of those rare jazz records well recieved by both the record buying public and the critics. Two years later we were back in the studio recording the “Splendid Sessions”.

Both records were never before released on CD. I am grateful to the artists an my ex-colleagues at WEA, Germany, to let me release what I believe is the best of “Twin House” and “Splendid” on my ACT label. “Mortgage of Your Soul” was taken off and replaced by the previously unreleased track “Dance Dream”.

This record is dedicated to the memory of the great gipsy guitar player Django Reinhardt. (by Siegfried E. Loch, producer)

Excellent! Exceded Expectations!


Philip Catherine (guitar)
Larry Coryell (guitar)
Joachim Kühn (piano on 10.)

AlternateFrontCoversAlternate frontcovers

01. Ms. Julie (Coryell) 5.28
02. Homecomings (Catherine) 6.00
03. Airpower (Catherine) 4.05
04. Twin House (Catherine) 5.19
05. Gloryell (Webb) 7.20
06. Nuages (Reinhardt) 5.19
07. Twice A Week (Catherine) 4.46
08. Dance Dream (Mikkelborg) 5.26
09. Snowshadows (Coryell) 3.32
10. Deus Xango (Piazzolla) 5.29
11. My Serenade (Reinhardt) 4.54
12. Father Christmas (Catherine) 2.40
13. The Train And The River (Giuffre) 4.49




Larry Coryell – Bolero & Scheherazade (1982)

LPFrontCoverA1Much of Larry Coryell’s work is as difficult to find as it is to categorize — the man seemed to have spent the late ’70s and early ’80s making albums for anyone who could come up with a microphone and a tape recorder. That said, it’s surprising how high the quality level is on most of these releases. Bolero/Scheherazade is one of the most difficult, as it seems to have been released only in Germany and Japan. The album’s obscurity may have something to do with the fact that it is confusingly named; Larry Coryell released an album two years before called Bolero, which has nothing to do with this CD. The “Bolero” on that album was a short, improvised piece composed by Coryell, while the one featured here is a reworking of the classic by Maurice Ravel. In fact all the material here is classical, all written for a full orchestra, and all performed by Larry Coryell in two sessions, alone with one acoustic guitar. In truth he’s up to the material, his playing spanning the full dynamic, from delicate flamenco-like picking to forceful, furiously strummed chords. “Ravel’s Bolero” was designed as a showpiece for slowly building intensity, and even though any listener who has heard the piece knows what is going to happen, Coryell still surprises and delights with the version here. The lesser-known pieces by de Sarasate and de Falla are similarly excellent and may introduce new listeners to the delights of those Spanish composers. Bolero/Scheherazade is an excellent album, an overlooked gem that ranks with Larry Coryell’s best classically inspired work. (by Richard Foss)


Larry Coryell (guitar)



01. The Sea And Sindbad’s Ship (Rimsky-Korsakov/Coryell) 6.51
02. The Story Of The Kalendar Prince (Rimsky-Korsakov/Coryell) 4.34
03. The Young Prince And The Young Princess (Rimsky-Korsakov/Coryell) 4.46
04. Festival At Bagdad – The Sea – The Shipwreck (Rimsky-Korsakov/Coryell) 6.10

05. Bolero (Ravel/Coryell) 10.26
06. Noches En Los Jardines De Espana (d.Falla/Coryell) 9.53
07. Zapateado, Op. 23 No.2 (Sarasate/Coryell) 3.19




Larry Coryell (April 2, 1943 – February 19, 2017)

Various Artists – A Classic Rock Salute To The Doors – Light My Fire (2014)

FrontCover1.jpgSouthern California-based Purple Pyramid Records and producer, instrumentalist Billy Sherwood raised the bar with this tribute to The Doors by convening a star-studded cast, featuring classic rockers performing with progressive rock luminaries. And the jazz contingent is onboard, evidenced by jazz guitar great Larry Coryell appearing with Focus keyboardist Thijs Van Leer on “Love Me Two Times.”

When I first broke the seal on this recording and perused the personnel listing I was delighted yet partly suspicious, fearing this would be an unbalanced project and/or a riffing contest framed on The Doors songbook. Such is not the case. Thus, Todd Rundgren performing alongside Captain Beeheart Magic Band guitarist Zoot Horn Rollo and Yes keyboardist Geoff Downes signify one of many rather unlikely, yet markedly productive and enticing state of affairs. It’s a varied set, where all the vocalists retain their signature chops and modus operandi. Although one unremitting factor is centered on their penchant for extracting the force-field of The Doors’ vocalist Jim Morrison’s commanding delivery.

The production’s stunning sound quality yields additional bonus points and should warm the hearts of audiophiles. Ultimately, each rendition of The Doors’ songbook is imbued with the musicians’ idiosyncratic niceties amid a plethora of shrewdly placed dynamics, layered keys and guitar shadings. They inject distinct characteristics but don’t sacrifice The Doors’ core song-forms. Hence, disparate musical personalities uncannily attain an accord on many fronts by imparting a sense of ownership and camaraderie, whether or not they were recording tracks in the same studio at the same time.


It’s easy to discern that Sherwood and associates maximized the talents and style of each artist’s strengths, juxtaposed by strong soloing spots and the obligatory personal touches that many of us would anticipate. Van Leer helps give “Love Me Two Times ” a modern uplift by instilling some good old Hammond-B3 organ style boogie rock, abetted by Coryell’s Texas blues patterns and hard rock phrasings. Moreover, guitar hero Leslie West (Mountain) does what he does best via his emphatically thick vocals, coupled with sinuous slide guitar leads atop Rod Piazza’s harmonica notes, as they punch it out on this husky finger-snapping spin on “Roadhouse Blues.”

Tony Kaye (Yes) uses a synth emulated electric piano sound during “Riders On The Storm” and Keith Emerson (Emerson, Lake & Palmer) preludes “People Are Strange” with stride piano clusters and synths alongside time-honored session ace, guitarist Jeff “Skunk” Baxter’s deft acoustic guitar work. Yet rockabilly vocalist Robert Gordon croons through “Touch Me” with the resonance and machismo of Morrison, complemented by pumping rhythms and Nik Turner’s (Hawkwind) swirling sax notes and prog rock keyboard great Jordan Rudess’ spiraling notes. Whereas, Rundgren tenders a pop-ish and clement outlook on The Doors’ swaggering and bluesy torch piece “Alabama Song (Whiskey Bar).

The Doors01

Highlights are thriving components, especially when infamous Yes alumni, guitarist Steve Howe and keyboardist Rick Wakeman delve into an extended call and response motif, spanning rock, jazz and classical nuances in the bridge section of “Light My Fire.” Here, Ian Gillan provides the antithesis of what we’d expect, considering his high-impact vocals with Deep Purple, as he counterbalances the soloists with a care-free and straightforward rendering of the familiar choruses. Indeed, this tribute endeavor covers all the bases and then some. It’s not to be overlooked. Kudos to the production team for bestowing their rather enlightening plan of attack as it’s quite apparent that a lot of thought prefaced the onset of this astonishing alignment of rock’s past and present rock stars. (by Glen Astarita)

First off readers let me say that I do not like cover bands, cover albums, tribute albums and compilation albums. I have always felt they should be considered a separate genre and that they usually do a disservice to the original composers and bands. After listening to “A Classic Rock Salute To The Doors” though I am rethinking those thoughts. It is hard to cover every song here, there are 16 of their greatest hits, so I will try to give an over view of what I think is important. I will leave the final decision up to you as to how good it really is after you listen to it.

The Doors02
I was fortunate enough to see ‘The Doors’, 3 times, once at Cobo Hall in Detroit. They were a very unassuming band with almost no equipment. They used no special effects, fireworks, light shows or anything other than themselves, a few instruments and only a couple amps and speakers. The stage was pretty empty even by the standards of the 1960’s. What they lacked in equipment they made up by how tight and cohesive they were as a group when they were all in sync with each other and halfway sober. Jim Morrison usually took all eyes off the other 3 members but make no mistake that without them Jim Morrison would probably have become another undiscovered rock star.

Several of the guests on this album most likely knew ‘The Doors’ back in the day and are by all rights are ‘Superstars’ themselves. More than 42 of rock’s greatest classic ‘Superstars’ showed up to play on this album. That’s a lot of “tribute” to any person or group and shows the love and respect they all had for ‘The Doors’ and their music. By my count there are at least 7 tribute albums out there for ‘The Doors’ but from where I sit this is probably the only one that should matter.

The album starts off with one of my favorites, ‘LA Woman’. From their 6th, album released in 1971, ‘LA Woman’. Jami Jamison, Ted Turner and Patrick Moraz do an admirable job of covering this tune. The guitar work, Ted Turner I am assuming, gives an old favorite a different twist.

I could go into much more detail on more songs off this album but since space is limited I will just give some observations here. This is certainly an album to help introduce anyone who has never heard ‘The Doors’ before to their greatness. After listening to it I guarantee they will hunger for the original music just to hear who these 4 guys, who cut out a slice of rock history for themselves, really were.


The guitar work on every song is clean, precise and shredded, something that Robby Kriegers “fingerstyle” guitar playing did not allow him to do. Not that Robby Krieger wasn’t great, he was just not as technical since “fingerstyle“ playing is better suited to Flamenco and Folk Music. It’s probably the most notable difference in all of the tunes here.

Conspicuous by its absence here though is ‘The Unknown Soldier’ which could have easily replaced the version of ‘People Are Strange’ with David Johansen and Billy Sherwood. This is the only song I really felt did not belong among the 16 cuts on this album.

The closing song is my all time favorite and appropriately is, ‘The End’, featuring Pat Travers and Jimmy Greenspoon. Listening to this version gave me goose bumps and almost brought tears to my eyes. The depth is so different but not nearly as dark as the original. I think you’ll find yourself listening to it over and over again! (Mike Langford)

One of the finest tribute albums ever !



Jimi Jamison: vocals (1); Patrick Moraz: keyboards (1); Ted Turner: guitars (1); Scott Connor: drums (1, 2, 3, 4, 5, 6, 8, 10, 11, 13, 16); Billy Sherwood: bass (all tracks), guitar, piano, synths (8), drums, keyboards (12); Lou Gramm: vocals (2); Thijs Van Leer: keyboards (2); Larry Coryell: guitar (2); Leslie West: guitar, vocals (3); Brian Augur: Hammond B-3 organ (3); Rod Piazza: harmonica (3); Mark Stein: vocals, Hammond B-3 organ (4); Mick Box: guitar (4); Joe Lynn Turner: vocals (5); Tony Kaye: Hammond B-3 organ (5); Steve Cropper: guitar (5); Edgar Winter: vocals (6); Chris Spedding: guitar (6); Keith Emerson: acoustic 7 ft. grand piano and original Moog, modular synthesizer (7); Jeff “Skunk” Baxter: acoustic guitar (7); Joel Druckman: acoustic upright bass (7); David Johansen: vocals (8); Robert Gordon: vocals (9); Jordan Rudess: keyboards (9); Steve Morse: guitar (9); Nik Turner: saxophone (9); Adam Hamilton: drums (9); Graham Bonnet: vocals (10); Christopher North: Hammond organ & Leslie (10); Steve Hillage: guitar (10); Ken Hensley: vocals, Hammond B-3 organ (11); Roye Albrighton: guitar (11); Eric Martin: vocals (12); Elliot Easton: lead and Spanish guitars (12); Todd Rundgren: vocals (13); Geoff Downes: keyboards (13); Zoot Horn Rollo: guitars (13); Mark Farner: vocals, guitar (14); Chick Churchill: keyboards (14); Glenn Grossman: drums (14); Ian Gillian: vocal (15); Rick Wakeman: keyboards (15); Steve Howe: guitar (15); Ricky Joyce: drums (15); Pat Travers: vocals, guitar (16); Jimmy Greenspan: keyboards (16).

For details see booklet


01. Jimi Jamison, Ted Turner, Patrick Moraz: L.A. Woman 7.28
02. Lou Gramm, Thijs van Leer, Larry Coryell: Love Me Two Times 3.21
03. Leslie West, Brian Auger, Rod Piazza: Roadhouse Blues 4.06
04. Mark Stein, Mick Box: Love Her Madly 3.26
05. Joe Lynn Turner, Tony Kaye, Steve Cropper: Riders On The Storm 6.19
06. Edgar Winter, Chris Spedding: The Crystal Ship 2.44
07. Keith Emerson, Jeff ‘Skunk’ Baxter, Joel Druckman: Intro (People Are Strange) 3.58
08. David Johansen, Billy Sherwood: People Are Strange 2.21
09. Robert Gordon, Jordan Rudess, Steve Morse, Nik Turner: Touch Me 3.49
10. Graham Bonnet, Christopher North, Steve Hillage: The Soft Parade 8.04
11. Ken Hensley, Roye Albrighton: Hello, I Love You 2.39
12. Eric Martin, Elliot Easton: Spanish Caravan 2.54
13. Todd Rundgren, Geoff Downes, Wake: Alabama Song (Whiskey Bar) 3.26
14. Mark Farner, Chick Churchill: Break On Through (To the Other Side) 2.51
15. Ian Gillan, Rick Wakeman, Steve Howe: Light My Fire 7.00
16. Pat Travers, Jimmy Greenspoon: The End 11.23

All songs written by Jim Morrison – John Densmore – Ray Manzarek – Robby Krieger
06.: written by Jim Morrison &
13.: written by Kurt Weil – Bertolt Brecht



Larry Coryell – Coryell (1969)

FrontCover1.jpgCoryell is an album by jazz guitarist Larry Coryell that was released in 1969 by Vanguard Records. The album was produced by Daniel Weiss and engineered by David Baker, Paul Berkowitz and Randy Rand.Coryell is an album by jazz guitarist Larry Coryell that was released in 1969 by Vanguard Records. The album was produced by Daniel Weiss and engineered by David Baker, Paul Berkowitz and Randy Rand. (by wikipedia)

A forward-thinking jazz guitarist and early architect of electric fusion, Larry Coryell is perhaps less well-known for his singing. However, during the late ’60s and early ’70s, Coryell did just that, writing and performing a handful of inspired, if quirky jazz-meets-singer/songwriter style compositions on every album. His second solo album, 1969’s Coryell, is a great example, and finds him fearlessly blurring the lines between hardcore blues-inflected jazz, pop, and rock. Helping Coryell to achieve this boundary-crossing vibe are his stellar sidemen including innovative funk-friendly drummer Bernard Purdie and organist Mike Mandel. Also on board are a cadre of illustrious bassists in Miles Davis alum Ron Carter, Chuck Rainey, and the lesser known Albert Stinson, who died tragically not long after recording this album. Together, they laid down a vibrant, organic sound that touches upon groove-oriented blues, acid funk, and searingly amped-up jazz-rock. While certainly a gifted and adroit guitarist, as a singer, Coryell had his own laid-back, lo-fi charm. Years before influential indie bands like Pavement and Wilco defined a whole sub-category of hard-to-classify rock with their noodly guitars and jam-out tunes, Coryell was essentially doing the same thing, albeit from a jazz-oriented perspective. On the cheeky, semi-satirical “Sex” (a title inspired by hearing a woman yell “Sex! That’s all you people are interested in!” at hippie anti-war protest marchers in the late ’60s), Coryell belts out the chorus à la Jimi Hendrix before launching into a reverb- and wah-wah-pedal-soaked solo.


Conversely, on the sweetly delivered, off-kilter ballad “Beautiful Woman,” he sings softly in a flat yet soulful falsetto offset by bluesy guitar punctuations. Similarly, the hazy, Baroque pop-inflected “No One Really Knows” sounds like something along the lines of Luna’s Dean Wareham singing a Traffic song that then explodes into loungey, R&B-inflected psych jazz jam. It’s a style with few contemporary examples to compare it to, aside from perhaps the harmonically varied folk of Tim Buckley or the equally cosmopolitan Brazilian pop of artists like Marcos Valle. What’s so fascinating about Coryell’s vocal songs is his almost naive eschewing of genre conventions. This is a guy who can play classical guitar one minute, rip into reverb-soaked blues solo the next, and finish by evincing the hollow-body lyricism of Wes Montgomery. Here he is, in the same year that Miles Davis recorded Bitches Brew and the Beatles delivered Abbey Road, casually knocking out what sounds like Pavement’s Stephen Malkmus backed by John McLaughlin. Even his instrumental cuts, like the quirkily titled “Ah Wuv Ooh” (co-written with his wife), are dynamically cross-pollinated nuggets of nuanced jazz, soul, and intricately virtuosic guitar heroics. Coryell’s singing waned during the ’70s, as he focused more on progressive instrumental fusion and his reputation grew as a highly respected jazz artist. However, listening to this album decades after its initial release only reinforces the notion that Coryell was a dynamic, creative visionary, as much in tune with swinging, blues-informed jazz as the psychedelic rock and folk that increasing dominated the airwaves. Ultimately, Coryell’s Coryell remains an embryonic artifact of a transitional era both in his own career and popular musical culture. (by Matt Collar)


Mervin Bronson (bass)
Larry Coryell (guitar, bass, keyboards, vocals)
Mike Mandel (keyboards)
Chuck Rainey (guitar, bass)
Albert Stinson (bass)
Ron Carter (bass)
Jim Pepper (flute, saxophone)
Bernard Purdie (drums)


01. Sex (L.Coryell) 3.52
02. Beautiful Woman (L.Coryell) 4.34
03. The Jam With Albert (L.Coryell) 9.12
04. Elementary Guitar Solo #5 (L.Coryell) 6.49
05. No One Really Knows (L.Coryell/J.Coryell) 5.08
06. Morning Sickness (L.Coryell) 5.20
07. Ah Wuv Ooh (L.Coryell/J.Coryell) 4.17


Larry Coryell (April 2, 1943 – February 19, 2017) 

Larry Coryell – Laid Back & Blues (Live at the Sky Church in Seattle) (2006)

FrontCover1Here´s a very rare album by Larry Coryell:

Laid Back & Blues finds journeyman jazz guitarist Larry Coryell performing live with his quartet at the Sky Church in Seattle, WA. Backing Coryell here are pianist Mark Seales, bassist Chuck Deardorf, and drummer Dean Hodges. Also joining in for an inspired off-the-cuff take on Tracy Chapman’s “Gimme One Reason” is vocalist Tracey Piergross. Throughout, Coryell does a nice job of mixing in such jazz standards as “Body and Soul” and “Straight No Chaser” alongside his more contemporary and challenging compositions including “The Dragon’s Grate” and the pretty midtempo ballad “Tracy.” This is an intimate-sounding album that truly showcases Coryell’s superb post-bop style and deft guitar technique. (by Matt Collar)

True, Larry has been playing utterly fantastic guitar for years and years, but this release showcases his many sides in a manner somewhat lacking in recent projects. Included are some very nice renditions of Coryell “standards” plus a standout vocal performance by Tracey Piergross. Keep an ear out for this new talent! Highlights include Larry’s solo, “Denver in April”, a return to a slightly phased acoustic sound that suits Larry so well. Also exceptional is his closing blues statement on the final track. Highly recommended!!! (by Andy)


Larry Coryell (guitar, vocals)
Chuck Deardorf (bass)
Dean Hodges (drums)
Mark Seales (piano)
Tracy Chapman (vocals on 04.)


01. No More Booze Minor Blues (Coryell) 8.27
02. Intro To Tracey (Coryell) 1.28
03. Tracey (Coryell) 7.34
04. Gimme One Reason/Rock Me Baby (Josea/King) 4.36
05. Body & Soul (Coryell) 8.28
06. Intro to Straight No Chaser 0.32
07. Straight No Chaser (Monk) 8.17
08. Denver In April (Coryell) 5.03
09. The Dragon’s Gate (Coryell) 8.14
10. Not Exactly Like BB (Coryell) 7.17

Larry Coryell
(* 2. April 1943 in Galveston, Texas; † 19. Februar 2017 in New York City)


Larry Coryell Group – Boston 1972

frontcover1Legendary guitarist Larry Coryell died on February 19, 2017 at the age of 73 in his New York City hotel room, according to a statement sent to Billboard from jazz publicist Jim Eigo. Coryell, who passed away in his sleep from natural causes, had performed his last two shows this past weekend at the city’s Iridium Jazz Club. Known as the “Godfather of Fusion,” Coryell was a pioneer of jazz-rock. He made his mark in the music world with his highly acclaimed solo work, releasing more than 60 solo albums in his lifetime. His most notable album, Spaces, came in late 1969. The guitar blow-out, also featuring John McLaughlin, is considered the beginning of the 1970s’ fusion jazz movement. Coryell performed with mid-’70s powerhouse fusion band The Eleventh House and collaborated with jazz greats including Miles Davis, Gary Burton, Alphonse Mouzon, Ron Carter and Chet Baker. Though his commercial fame didn’t match some of his ’60s-’70s guitar contemporaries, Coryell continued to tour the world and had planned an extensive 2017 summer tour with a reformed The Eleventh House. (Billboard)

Thanks to goody for sharing the show at Dime.
Another tribute in honor of the already missed master Larry Coryell, here’s an early one I fixed up, originally posted by our friend, mr mags, who got it from agalli.
Thanks to ethiessen1 for the artwork.

What a brilliant concert to promote his solo-album “Offering”
Larry Coryell (guitar)
Mike Mandel (Keyboards)
Steve Marcus (Saxophone)
John Miller (bass)
Harry Wilkinson (drums)

01. Untitled (unknown) 13.26
02. Ruminations (Davis) 9.13
03. Hen-Hopper (Mandel) 7.06
04. Scotland, Part 1 (Coryrell) 7.06
05. Offering (Wilkinson) 6.10
06. DJ Announcements 1.09



Larry Coryell
(* 2. April 1943 in Galveston, Texas; † 19. Februar 2017 in New York City, New York)

RIP and thanks for the music !

Larry Coryell – I’ll Be Over You (1994)

larrycoryellfrontcover1Larry Coryell (born April 2, 1943) is an American jazz fusion guitarist.

Coryell was born in Galveston, Texas on April 2, 1943. After graduating from Richland High School in eastern Washington, he moved to Seattle to attend the University of Washington. In 1965, Coryell moved to New York City where he became part of Chico Hamilton’s quintet, replacing Gabor Szabo. In 1967 and 1968, he recorded with Gary Burton. Also during the mid-1960s he played with The Free Spirits. His music during the late-1960s and early-1970s combined the influences of rock, jazz and eastern music. He formed his own group, The Eleventh House, in 1973. Following the break-up of this band, Coryell played mainly acoustic guitar, but returned to electric guitar later in the 1980s. In 1979, Coryell formed “The Guitar Trio” with jazz fusion guitarist John McLaughlin and flamenco guitarist Paco de Lucia. The group toured Europe briefly, eventually releasing a video recorded at Royal Albert Hall in London entitled “Meeting of Spirits”. In early-1980, Coryell was replaced by Al Di Meola, due to drug addiction.

In 2007, an autobiography was released under the title Improvising: My Life in Music. Larry’s two sons, Julian Coryell and Murali Coryell are also actively involved in the music business.

Larry Coryell is an excellent guitarist, however, on this one his output doesn’t shine, and other participants drown him out a bit (by William)

This is perfect smooth Jazz … another side of Larry Coryell !


Alternate frontcover

Rick Bottari (keyboards)
Peabo Bryson (vocals)
David Charles (percussion)
Larry Coryell (guitar)
Zach Danziger (drums)
Steve Ferrone (drums)
Donald Harrison (saxophone)
Dan Heymann (piano)
Will Lee (bass)
Chuck Loeb (guitar)
Chris Parks (keyboards)
Mark Sherman (keyboards)
Grover Washington, Jr., (saxophone)
Tracy Wormword (bass)
background vocals
Sharon Bryant – Vaneese Thomas – Carmen Cuesta – Lani Groves


01. I’ll Be Over You (Lukather/Goodrum) 4.56
02. Redwing (Keating/Sherman/Coryell) 4.22
03. Tonight Is The Night (Loab/Cuesta/Bryson/Horlick/Weir) 5.43
04. Try A Little Tenderness (Campbell-Woods/Connelly] 3.06
05. St Louis Blues (Handy] 5.17
06. For The Love Of You (The Isley Brothers) 5.13
07. Nightshade (Washington, Jr./Coryell/Loeb) 4.49
08. This Love Of Ours (Loeb/Cuesta/Thomas) 4.34
09. Before Dawn (Coryell/Sherman) 4.49
10. Cumulus (Sherman) 4.27
11. Better Get Hit In Your Soul (Mingus) 5.37



Larry Coryell – Private Concert (1999)

FrontCover1This all-acoustic solo guitar studio date by Larry Coryell is a real find, issued by the German label Acoustic Music. Occasionally Coryell overdubs a second accompanying line, as he does on Dizzy Gillespie’s “Brother K,” played as a gentle samba, and “Hot House,” which weds hard bop with bossa nova. Compelling interpretations of timeless standards (“Spring Is Here” and “Body and Soul”), classical works (Ravel’s “Pavane de la Belle au Bois Dormant” and Rodrigo’s “Spanish Suite”), plus an imaginative reworking of George Harrison’s “Something” and a dramatic, extended but never dull take of “Moon River” are among the CD’s many assets. About the only thing to gripe about is the liner note author’s reference to “Todd” Dameron, a mistake unfortunately repeated in the composer credit to “Hot House.” ( by Ken Dryden)

LarryCoryellThis set-which reflects Coryell’s diverse interests, ranging from jazz to pop to classical-is divided between sensitive, articulate solos, and duets with Vic Juris (who inexplicably goes unmentioned in the liner notes).

The jazz side of Coryell’s musical persona manifests itself throughout “Sonny Moon for Two,” a laid-back blues that ranges from funky to more uptown, and Tadd Dameron’s “Hot House,” an aggressive duet. Three pieces reveal his affection for more formal music: a pavane by Ravel, Gershwin’s plaintive “Prelude #2,” and “Spanish Suite,” based on music by Joaquin Rodrigo. Throughout, Coryell demonstrates both his technical and conceptual depth, as he approaches each piece with confidence and imagination. And nowhere is that dynamic combination better evidenced than on George Harrison’s “Something,” a brilliant kaleidoscope of tones, textures, and fragments of other Beatles tunes. (by Jim Ferguson)

VicJurisVic Juris

Larry Coryell (guitar)
Vic Juris (guitar)

01. Sonny Moon For Two (Rollins) 3.43
02. Brother K (Gillespie) 6.29
03. Spring Is Here (Hart/Rodgers) 4.40
04. Pavane De La Belle Au Bois Dormant (Ravel)
05. Spring Will Be A Little Late This Year (Loesser)
06. Something (Harrison) 4.20
07. Hot House (Dameron) 3.00
08. Prelude #2 (Gershwin) 3.26
09. Django Fantasy (Coryell) 3.21
10. Spanish Suite (Rodrigo) 7.18
11. Body And Soul (Heyman/Eyton/Green/Sour) 4.13
12. Moon River (Mancini/Mercer) 11.36