| Larry Coryell — Earthquake At The Avalon (March 10th, 2009) |
Larry Coryell — Earthquake At The Avalon (March 10th, 2009)
♠ Univerzální virtuózní kytarista Larry Coryell prokazuje, že je mnohem více než vynikající hudebník; je to také mimořádně poučný a vlídný vyprávěč. V roce 2007, Coryell vydal autobiografii s názvem “Improvising: Můj život v hudbě”. Larry má dva syny (Julian Coryell a Murali Coryell), také oni se aktivně podílí v hudebním byznysu. Larry má na kontě 99 alb [64 (as leader) + 4 (The Eleventh House) + 31 (as sideman)].
♠ Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight–ahead bebop. Born: in Galveston, Texas on April 2, 1943
Location: Seattle, Washington
Album release: March 10th, 2009
Recorded: Avalon Theater in Hollywood, CA, on October 13, 2005
Record Label: In–Akustik
Genre: Guitar Jazz
Duration: 67:52
Tracks:
1. The Opening 4:48
2. Souls Dirge 9:56
3. Slow Blues 9:07
4. Half A Heart 6:24
5. The Dream Thing Stiff Neck 6:26
6. Morning Sickness 7:39
7. The Real Great Escape 7:30
8. The Dragon Gate 16:02
AllMusic Review by William Ruhlmann; Score: ****
♣ In his liner notes, Julian Coryell recalls the offer his father was made to perform for a live DVD (of which this album is the audio complement), presumably by director Daniel E. Meza. “Which music?,” the son asked. “All the old stuff,” Larry Coryell replied. And so it is. In a one–night–only concert at the Avalon Theater in Hollywood, CA, on October 13, 2005, Coryell, accompanied by “the Soul Dirges Band” (drummer Bernard “Pretty” Purdie, bassist John Hart, and Julian Coryell on guitar and keyboards, with guests David Hidalgo of Los Lobos and trumpeter Winston Byrd, each appearing on two tunes), delved into his catalog of tunes dating back to the late `60s and early `70s. The result is a blues– and rock–oriented set. In fact, from the opener, “The Opening,” the first of several songs on which Coryell sings as well as playing electric guitar, one almost could be listening to Jimi Hendrix’s Band of Gypsys. By the time of the extended finale, “The Dragon Gate,” with Byrd coming in, the stylistic range has tilted more toward jazz, but for much of this album an uninformed listener would peg this as a rock album, not a jazz one, and that isn’t really a bad thing. LARRY CORYELL
♣ 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).
♣ Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the tender age of 4. He switched to guitar and played rock music while in his teens. He didn’t consider himself good enough to pursue a music career and studied journalism at The University of Washington while simultaneously taking private guitar lessons. By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. He was also inspired by the popular music of the day by the Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. This was reflected on his debut recording performance on drummer Chico Hamilton’s album “The Dealer” where he sounded like chuck Berry at times with his almost distorted “fat” tone. Also in 1966 he formed a psychedelic band called The Free Spirits on which he also sang vocals, played the sitar and did most of the composing. Although conceptually the band’s music conformed to the psychedelic formula with titles like “Bad News Cat” and “I’m Gonna Be Free” it foreshadowed jazz rock with more complex soloing by Coryell and Sax/flute player Jim Pepper. However, it wasn’t until three years later after apprenticing on albums by Vibraphonist Gary Burton and flutist Herbie Mann and gigging with the likes of Jack Bruce and others that Coryell established his multifarious musical voice, releasing two solo albums which mixed jazz, classical and rock ingredients. In late 1969 he recorded “Spaces”, the album for which he is most noted. It was a guitar blow–out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham both of whom were to make contributions to Jazz rock throughout the `70s.
♣ His career, however, began in era of guitar rock, where he was able to rise for a time with legends such as Jimi Hendrix, Carlos Santana, and Eric Clapton. As this era came to a close, his musical expression took him on a diverse journey, and though he did not receive the level of commercial fame the aformentioned musicians had, he was still able to make his mark in music by way of the jazz & fusion world. His music continues to influence musicians and fans internationally and will continue to do so for a very long time. Discography:
As leader:
♣ Lady Coryell (Vanguard, 1968)
♣ Coryell (Vanguard, 1969)
♣ Spaces (Vanguard, 1970) with John McLaughlin, Billy Cobham, Miroslav Vitouš, Chick Corea
♣ Larry Coryell at the Village Gate (Vanguard, 1971) with Melvyn Bronson (bass), Harry Wilkinson (drums)
♣ Barefoot Boy (Flying Dutchman, 1971)
♣ Fairyland (1971) rec. live at Montreux Jazz Festival
♣ Offering (1972) with Harry Wilkinson (composer of title track), Melvyn Bronson, Steve Marcus, Mike Mandel
♣ The Real Great Escape (1973)
♣ The Restful Mind (1975) with Ralph Towner, Glen Moore, Collin Walcott
♣ Planet End (1976) with Billy Cobham
♣ The Lion and the Ram (1977)
♣ Two for the Road (1977) with Steve Khan
♣ Twin House (1977) with Philip Catherine
♣ Back Together Again (1977) with Alphonse Mouzon
♣ Difference (1978)
♣ Splendid (1978) with Philip Catherine
♣ Standing Ovation (1978)
♣ European Impressions (1978)
♣ Tributaries (1979) with John Scofield and Joe Beck
♣ Young Django (1979) with Stephane Grappelli
♣ Tender Variations (1979) with Chet Baker, Billy Cobham, Ron Carter, Hubert Laws
♣ Boléro (1981)
♣ The Larry Coryell and Michael Urbaniak Duo (1982) with Michael Urbaniak
♣ Scheherazade (1982)
♣ L’Oiseau de Feu, Petrouchka (1983)
♣ Le Sacre Du Printemps (The Rite of Spring) (1983)
♣ Round Midnight (1983) with Fumio Karashima
♣ Comin’ Home (1984)
♣ A Quiet Day in Spring (1984) with Michael Urbaniak
♣ The Four Seasons (1984) with Kazuhito Yamashita
♣ Together (1985) with Emily Remler
♣ The 11th House (1985) with Alphonse Mouzon
♣ Equipoise (1986) with Buster Williams
♣ Dedicated to Bill Evans and Scott LaFaro (1987) with Miroslav Vitous
♣ Toku Do (1987) with Buster Williams
♣ Air Dancing (1988) with Buster Williams
♣ Shining Hour (1989) with Buster Williams
♣ Dragon Gate (1989)
♣ American Odyssey (1990) With Wayne Shorter
♣ Twelve Frets To One Octave (1991)
♣ Fallen Angel (1993)
♣ I’ll Be Over You (1995)
♣ Sketches of Coryell (1996)
♣ Spaces Revisited (1997) with Billy Cobham
♣ Cause and Effect (1998) with Steve Smith, Tom Coster, Victor Wooten
♣ The Coryells (1999) with Alphonse Mouzon
♣ Private Concert (Live) (1999)
♣ Monk, Trane, Miles & Me (1999) John Hicks, Willie Williams, Santi Debriano, Yoron Israel
♣ New High (2000) with Buster Williams
♣ Count’s Jam Band Reunion (2001) with Steve Smith, Steve Marcus
♣ Cedars of Avalon (2002) with Buster Williams
♣ Gypsy Blood and Voodoo Crossing (2002) — Jimi Hendrix tributes w. Paul Santa Maria
♣ Three Guitars (2003) with Badi Assad, John Abercrombie
♣ The Power Trio: Live in Chicago (2003) with Larry Gray and Paul Wertico
♣ Tricycles (2004)
♣ Electric (2005) with Lenny White, Victor Bailey
♣ Traffic (2006) with Lenny White, Victor Bailey
♣ Laid Back & Blues: Live at the Sky Church in Seattle (2006)
♣ Impressions: The New York Sessions (2008)
♣ Earthquake at the Avalon (2009)
♣ Larry Coryell with the Wide Hive Players (2011)
♣ Montgomery (2011) Patuxent Records with John Colianni piano and James Cammack bass
♣ Duality (2011) Random Acts Records duet with Kenny Drew Jr. on piano
♣ The Lift (2013)
With The Eleventh House:
♣ Introducing Eleventh House with Larry Coryell (1974)
♣ Larry Coryell and the Eleventh House at Montreux (1978)
♣ Level One (1975)
♣ Aspects (1976)
As sideman:
♣ With The Appletree Theatre (John & Terry Boylan) Playback (Verve, 1967)
♣ With Jim Pepper “Pepper’s Pow Wow” (Embryo Records, 1971)
With Gary Burton:
♣ Duster (RCA, 1967)
♣ Lofty Fake Anagram (RCA, 1967)
♣ A Genuine Tong Funeral (RCA, 1968)
♣ Gary Burton Quartet in Concert (RCA, 1968)
With Randy Brecker:
♣ Score (1969)
With the Jazz Composer’s Orchestra:
♣ The Jazz Composer’s Orchestra (1968)
With Wolfgang Dauner:
♣ Knirsch (1972)
With The 5th Dimension:
♣ Earthbound (1975)
With The Free Spirits:
♣ Out of Sight and Sound (1967)
With Chico Hamilton:
♣ The Dealer (Impulse!, 1966)
With Arnie Lawrence:
♣ Look Toward a Dream (1969)
With Herbie Mann:
♣ Memphis Underground (1969)
With Michael Mantler:
♣ Movies (1977)
With Steve Marcus:
♣ Tomorrow Never Knows (1968)
♣ Count’s Rock Band (1968)
♣ The Lord’s Prayer (1969)
With Charles Mingus:
♣ Three or Four Shades of Blues (Atlantic, 1977)
♣ Me Myself An Eye (Atlantic, 1978)
♣ Something Like A Bird (Atlantic, 1980)
With Bob Moses:
♣ Love Animal (1967–68)
♣ With Chico O’Farrill:
♣ Nine Flags (Impulse!, 1966)
With The Arista All Stars:
♣ Blue Montreux (1978)
With Simon & Bard Group:
♣ The Enormous Radio with Paul Wertico (1984)
With Joey DeFrancesco:
♣ Wonderful, Wonderful (2012)
With Dennis Haklar:
♣ Lizard’s Tale (2012)
With Michael Mantler:
♣ Movies (1977)
With The Fusion Syndicate:
♣ The Fusion Syndicate (2012)
With The Wide Hive Players:
♣ Players II Guitar (2010)
♣ Larry Coryell with The Wide Hive Players (2011)
Website: http://www.larrycoryell.net/
Facebook: https://www.facebook.com/Coryell.Larry
_____________________________________________________________
| Larry Coryell — Earthquake At The Avalon (March 10th, 2009) |
♠ Univerzální virtuózní kytarista Larry Coryell prokazuje, že je mnohem více než vynikající hudebník; je to také mimořádně poučný a vlídný vyprávěč. V roce 2007, Coryell vydal autobiografii s názvem “Improvising: Můj život v hudbě”. Larry má dva syny (Julian Coryell a Murali Coryell), také oni se aktivně podílí v hudebním byznysu. Larry má na kontě 99 alb [64 (as leader) + 4 (The Eleventh House) + 31 (as sideman)].
♠ Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight–ahead bebop. Born: in Galveston, Texas on April 2, 1943
Location: Seattle, Washington
Album release: March 10th, 2009
Recorded: Avalon Theater in Hollywood, CA, on October 13, 2005
Record Label: In–Akustik
Genre: Guitar Jazz
Duration: 67:52
Tracks:
1. The Opening 4:48
2. Souls Dirge 9:56
3. Slow Blues 9:07
4. Half A Heart 6:24
5. The Dream Thing Stiff Neck 6:26
6. Morning Sickness 7:39
7. The Real Great Escape 7:30
8. The Dragon Gate 16:02
AllMusic Review by William Ruhlmann; Score: ****
♣ In his liner notes, Julian Coryell recalls the offer his father was made to perform for a live DVD (of which this album is the audio complement), presumably by director Daniel E. Meza. “Which music?,” the son asked. “All the old stuff,” Larry Coryell replied. And so it is. In a one–night–only concert at the Avalon Theater in Hollywood, CA, on October 13, 2005, Coryell, accompanied by “the Soul Dirges Band” (drummer Bernard “Pretty” Purdie, bassist John Hart, and Julian Coryell on guitar and keyboards, with guests David Hidalgo of Los Lobos and trumpeter Winston Byrd, each appearing on two tunes), delved into his catalog of tunes dating back to the late `60s and early `70s. The result is a blues– and rock–oriented set. In fact, from the opener, “The Opening,” the first of several songs on which Coryell sings as well as playing electric guitar, one almost could be listening to Jimi Hendrix’s Band of Gypsys. By the time of the extended finale, “The Dragon Gate,” with Byrd coming in, the stylistic range has tilted more toward jazz, but for much of this album an uninformed listener would peg this as a rock album, not a jazz one, and that isn’t really a bad thing. LARRY CORYELL
♣ 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).
♣ Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the tender age of 4. He switched to guitar and played rock music while in his teens. He didn’t consider himself good enough to pursue a music career and studied journalism at The University of Washington while simultaneously taking private guitar lessons. By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. He was also inspired by the popular music of the day by the Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. This was reflected on his debut recording performance on drummer Chico Hamilton’s album “The Dealer” where he sounded like chuck Berry at times with his almost distorted “fat” tone. Also in 1966 he formed a psychedelic band called The Free Spirits on which he also sang vocals, played the sitar and did most of the composing. Although conceptually the band’s music conformed to the psychedelic formula with titles like “Bad News Cat” and “I’m Gonna Be Free” it foreshadowed jazz rock with more complex soloing by Coryell and Sax/flute player Jim Pepper. However, it wasn’t until three years later after apprenticing on albums by Vibraphonist Gary Burton and flutist Herbie Mann and gigging with the likes of Jack Bruce and others that Coryell established his multifarious musical voice, releasing two solo albums which mixed jazz, classical and rock ingredients. In late 1969 he recorded “Spaces”, the album for which he is most noted. It was a guitar blow–out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham both of whom were to make contributions to Jazz rock throughout the `70s.
♣ His career, however, began in era of guitar rock, where he was able to rise for a time with legends such as Jimi Hendrix, Carlos Santana, and Eric Clapton. As this era came to a close, his musical expression took him on a diverse journey, and though he did not receive the level of commercial fame the aformentioned musicians had, he was still able to make his mark in music by way of the jazz & fusion world. His music continues to influence musicians and fans internationally and will continue to do so for a very long time. Discography:
As leader:
♣ Lady Coryell (Vanguard, 1968)
♣ Coryell (Vanguard, 1969)
♣ Spaces (Vanguard, 1970) with John McLaughlin, Billy Cobham, Miroslav Vitouš, Chick Corea
♣ Larry Coryell at the Village Gate (Vanguard, 1971) with Melvyn Bronson (bass), Harry Wilkinson (drums)
♣ Barefoot Boy (Flying Dutchman, 1971)
♣ Fairyland (1971) rec. live at Montreux Jazz Festival
♣ Offering (1972) with Harry Wilkinson (composer of title track), Melvyn Bronson, Steve Marcus, Mike Mandel
♣ The Real Great Escape (1973)
♣ The Restful Mind (1975) with Ralph Towner, Glen Moore, Collin Walcott
♣ Planet End (1976) with Billy Cobham
♣ The Lion and the Ram (1977)
♣ Two for the Road (1977) with Steve Khan
♣ Twin House (1977) with Philip Catherine
♣ Back Together Again (1977) with Alphonse Mouzon
♣ Difference (1978)
♣ Splendid (1978) with Philip Catherine
♣ Standing Ovation (1978)
♣ European Impressions (1978)
♣ Tributaries (1979) with John Scofield and Joe Beck
♣ Young Django (1979) with Stephane Grappelli
♣ Tender Variations (1979) with Chet Baker, Billy Cobham, Ron Carter, Hubert Laws
♣ Boléro (1981)
♣ The Larry Coryell and Michael Urbaniak Duo (1982) with Michael Urbaniak
♣ Scheherazade (1982)
♣ L’Oiseau de Feu, Petrouchka (1983)
♣ Le Sacre Du Printemps (The Rite of Spring) (1983)
♣ Round Midnight (1983) with Fumio Karashima
♣ Comin’ Home (1984)
♣ A Quiet Day in Spring (1984) with Michael Urbaniak
♣ The Four Seasons (1984) with Kazuhito Yamashita
♣ Together (1985) with Emily Remler
♣ The 11th House (1985) with Alphonse Mouzon
♣ Equipoise (1986) with Buster Williams
♣ Dedicated to Bill Evans and Scott LaFaro (1987) with Miroslav Vitous
♣ Toku Do (1987) with Buster Williams
♣ Air Dancing (1988) with Buster Williams
♣ Shining Hour (1989) with Buster Williams
♣ Dragon Gate (1989)
♣ American Odyssey (1990) With Wayne Shorter
♣ Twelve Frets To One Octave (1991)
♣ Fallen Angel (1993)
♣ I’ll Be Over You (1995)
♣ Sketches of Coryell (1996)
♣ Spaces Revisited (1997) with Billy Cobham
♣ Cause and Effect (1998) with Steve Smith, Tom Coster, Victor Wooten
♣ The Coryells (1999) with Alphonse Mouzon
♣ Private Concert (Live) (1999)
♣ Monk, Trane, Miles & Me (1999) John Hicks, Willie Williams, Santi Debriano, Yoron Israel
♣ New High (2000) with Buster Williams
♣ Count’s Jam Band Reunion (2001) with Steve Smith, Steve Marcus
♣ Cedars of Avalon (2002) with Buster Williams
♣ Gypsy Blood and Voodoo Crossing (2002) — Jimi Hendrix tributes w. Paul Santa Maria
♣ Three Guitars (2003) with Badi Assad, John Abercrombie
♣ The Power Trio: Live in Chicago (2003) with Larry Gray and Paul Wertico
♣ Tricycles (2004)
♣ Electric (2005) with Lenny White, Victor Bailey
♣ Traffic (2006) with Lenny White, Victor Bailey
♣ Laid Back & Blues: Live at the Sky Church in Seattle (2006)
♣ Impressions: The New York Sessions (2008)
♣ Earthquake at the Avalon (2009)
♣ Larry Coryell with the Wide Hive Players (2011)
♣ Montgomery (2011) Patuxent Records with John Colianni piano and James Cammack bass
♣ Duality (2011) Random Acts Records duet with Kenny Drew Jr. on piano
♣ The Lift (2013)
With The Eleventh House:
♣ Introducing Eleventh House with Larry Coryell (1974)
♣ Larry Coryell and the Eleventh House at Montreux (1978)
♣ Level One (1975)
♣ Aspects (1976)
As sideman:
♣ With The Appletree Theatre (John & Terry Boylan) Playback (Verve, 1967)
♣ With Jim Pepper “Pepper’s Pow Wow” (Embryo Records, 1971)
With Gary Burton:
♣ Duster (RCA, 1967)
♣ Lofty Fake Anagram (RCA, 1967)
♣ A Genuine Tong Funeral (RCA, 1968)
♣ Gary Burton Quartet in Concert (RCA, 1968)
With Randy Brecker:
♣ Score (1969)
With the Jazz Composer’s Orchestra:
♣ The Jazz Composer’s Orchestra (1968)
With Wolfgang Dauner:
♣ Knirsch (1972)
With The 5th Dimension:
♣ Earthbound (1975)
With The Free Spirits:
♣ Out of Sight and Sound (1967)
With Chico Hamilton:
♣ The Dealer (Impulse!, 1966)
With Arnie Lawrence:
♣ Look Toward a Dream (1969)
With Herbie Mann:
♣ Memphis Underground (1969)
With Michael Mantler:
♣ Movies (1977)
With Steve Marcus:
♣ Tomorrow Never Knows (1968)
♣ Count’s Rock Band (1968)
♣ The Lord’s Prayer (1969)
With Charles Mingus:
♣ Three or Four Shades of Blues (Atlantic, 1977)
♣ Me Myself An Eye (Atlantic, 1978)
♣ Something Like A Bird (Atlantic, 1980)
With Bob Moses:
♣ Love Animal (1967–68)
♣ With Chico O’Farrill:
♣ Nine Flags (Impulse!, 1966)
With The Arista All Stars:
♣ Blue Montreux (1978)
With Simon & Bard Group:
♣ The Enormous Radio with Paul Wertico (1984)
With Joey DeFrancesco:
♣ Wonderful, Wonderful (2012)
With Dennis Haklar:
♣ Lizard’s Tale (2012)
With Michael Mantler:
♣ Movies (1977)
With The Fusion Syndicate:
♣ The Fusion Syndicate (2012)
With The Wide Hive Players:
♣ Players II Guitar (2010)
♣ Larry Coryell with The Wide Hive Players (2011)
Website: http://www.larrycoryell.net/
Facebook: https://www.facebook.com/Coryell.Larry
_____________________________________________________________