Larry Coryell - Live At The Sugar Club - Dublin, Ireland 2016 (Live)

Styles: Guitar
File: MP3@320K/s
Time: 109:30
Size: 251,4 MB
Art: Front

( 0:13) 1. Dar Introducing
(10:32) 2. Bag's Groove
( 1:26) 3. Larry Speaks
(11:33) 4. In Your Own Sweet Way
( 1:10) 5. Larry Speaks 2
( 9:47) 6. In A Sentimental Mood
( 9:38) 7. Good Citizen Swallow
( 0:56) 8. Larry Speaks 3
( 4:38) 9. A Hundred Years
( 8:25) 10. Alone Together
(10:01) 11. Someday My Prince Will Come
( 7:24) 12. Bumpin' On Sunset
( 6:50) 13. Have You Met Miss Jones
( 8:50) 14. The Dragon Gate
(12:15) 15. Our Love Is Here To Stay / Bolero
( 5:46) 16. Morning Of The Carnival

Larry Coryell: Guitar virtuoso, performer and composer of jazz and jazz- rock. Master of guitar improvisation, known in the jazz world as the “Godfather of Fusion”. Larry’s highly acclaimed improvised guitar stylings and compositions positioned him as one of the first innovators of the jazz-rock fusion movement in the late 1960’s. A true legend and well established in the history books of jazz music, Larry knew and played with many of the well known jazz and rock greats of the 20th and 21st Centuries such as Jimi Hendrix, Eric Clapton, Chet Atkins, Chico Hamilton, Gary Burton, Chick Corea and Miles Davis. Larry’s “Last Swing in Ireland” was his last visit to the Emerald Aisle and he made a lasting impression at Hellfire Studios and The Sugar Club with his favorite Irish rhythm section, Kevin Brady and Dave Redmond in May of 2016. They rock and they swing and everything in between. https://punktofunkheaven.co.uk/products/live-at-the-sugar-club-dublin-2016-by-larry-coryell-compact-disc-double-sjpcd648

Live At The Sugar Club - Dublin, Ireland 2016 (Live)

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Paco de Lucia - Castro Marin

Styles: Guitar
Year: 1987
File: MP3@320K/s
Time: 36:23
Size: 83,5 MB
Art: Front

(4:47) 1. Monasterio de sal
(4:59) 2. Gitanos andaluces
(4:17) 3. Castro Marín
(5:39) 4. Herencia
(5:13) 5. Convite
(7:27) 6. Palenque
(3:59) 7. Huida

One of the least well-known of the extensive body of work recorded by the Algeciran, which contains some of the tracks that he would include months later on his 1981 record Solo Quiero Caminar with The Sextet. On two songs he counts on the participation of John McLaughlin and Larry Coryell, both of whom collaborated on a series of virtuoso trio performances, an idea promoted by Paco’s manager, Barry Marshall, towards the end of 1978 (Al di Meola soon took the place of Larry Coryell). After an American tour in 1981, Paco recorded 7 tracks in Tokyo between the 25th and 27th of December 1980. It takes the form of a preparation of Solo Quiero Caminar in a format for a solo guitar, in duet with the acoustic guitar of Larry Coryell on ‘Corvite’, and in a trio, joined by McLaughlin with a twelve string acoustic guitar on ‘Palenque’. The other five tracks are played solo by Paco (often accompanying himself on another track). Castro Marin is the name of the village where his mother, Luzia, who was Portuguese, was born, and is situated on the Spanish border at the mouth of the river Guadiana. This album is a memory of his beloved mother. In 1998 he dedicated another to her. http://www.pacodelucia.org/en/disc/castro-marin

Personnel: Paco de Lucía - Flamenco guitar; Larry Coryell - Acoustic guitar; John McLaughlin - Acoustic guitar, 12 string guitar; Carles Benavent - Bass guitar

Castro Marín

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Larry Coryell - I'll Be Over You

Styles: Jazz Fusion
Year: 1994
File: MP3@320K/s
Time: 52:04
Size: 120,7 MB
Art: Front

(4:57) 1. I'll Be Over You
(4:22) 2. Redwing
(4:43) 3. Tonight Is the Night
(3:06) 4. Try a Little Tenderness
(5:17) 5. St. Louis Blues
(5:14) 6. For the Love of You
(4:50) 7. Nightshade
(4:34) 8. This Love of Ours
(4:49) 9. Before Dawn
(4:28) 10. Cumulus
(5:39) 11. Better Get Hit in Yo' Soul

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, and 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 remained 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 went missing in the digital age, tied up by the erratic reissue schemes of Vanguard, RCA, and other labels, and by jazz-rock's myopically low level of status in certain quarters.

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 1967-1968 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 the later 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 de Lucía, 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 also recorded with Stéphane Grappelli, Charles Mingus, Sonny Rollins, and Kenny Barron, and 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.

Coryell's career in the early 21st century was just as active. The year 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, followed two years later by Impressions: The New York Sessions on Chesky. In 2011 the guitarist joined a group of musicians closely associated with the Bay Area's Wide Hive label for Larry Coryell with the Wide Hive Players. He then returned in 2013 with The Lift, featuring organist Chester Thompson. Two years later, he delivered his third album for Wide Hive, Heavy Feel. In January 2017, Coryell announced he had reunited members of his '70s fusion group Eleventh House, including trumpeter Randy Brecker, for the album Seven Secrets. The album was slated to arrive in early June of that year, with a number of U.S. summer tour dates confirmed in support of the release. However, following a pair of weekend shows at New York City's Iridium club, Coryell died of heart failure in his hotel room on February 19, 2017. He was 73 years old. https://www.allmusic.com/artist/larry-coryell-mn0000124784/biography

Personnel: Larry Coryell - acoustic, electric, 12-string electric & Flamenco guitars; Sharon Bryant - background vocals; David Charles - percussion; Chris Parks - keyboards, programming; Carmen Cuesta - background vocals; Zach Danziger - drums; Mark Herman - keyboards, programming; Mark Sherman - vibraphone, keyboards, percussion, programming; Dan Heymann - piano; Rick Bottari - keyboards; Tracy Wormwood - bass; Steve Ferrone - drums; Chuck Loeb - guitar, electric guitar; Will Lee - bass; Grover Washington, Jr.- soprano saxophone, tenor saxophone; Peabo Bryson - vocals; Donald Harrison - vocals, soprano & tenor saxophones; Lani Groves - background vocals; Vaneese Thomas - background vocals

I'll Be Over You

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Don Sebesky - I Remember Bill - A Tribute To Bill Evans

Styles: Crossover Jazz, Hard Bop

Year: 1998

File: MP3@320K/s

Time: 78:34

Size: 183,6 MB

Art: Front

(4:46)  1. Waltz for Debby

(5:29)  2. I Remember Bill

(8:24)  3. So What

(4:07)  4. Quiet Now

(6:16)  5. All the Things You Are

(6:47)  6. Peace Piece

(5:58)  7. Bill, not Gil

(7:22)  8. Very Early

(4:22)  9. (T.T.T.T.) Twelve Tone Tune Two

(4:52) 10. Autumn Leaves

(5:06) 11. Blue in Green

(7:52) 12. I'm Getting Sentimental over You

(1:18) 13. Epilogue

(5:53) 14. Bill Evans Interview

Veteran arranger Don Sebesky crafts an often-glowing portrait of famed jazz pianist Bill Evans in this quite welcome orchestral jazz tribute. While he is too often derided (and unfairly) as the guy who mucked up Wes Montgomery and other CTI stars with strings and horn sections, Sebesky often presents subtle arrangements that offer keen respect for a soloist's musicianship. When a listener notices Sebesky's work, it's often in the occasional punctuation mark or interesting sound combinations he creates. But it's his respect for the featured musician that sets him apart and probably drew him to this project. Here, Sebesky has gathered a prominent collection of top-shelf jazz musicians, many of whom actually worked with Evans during his career. But one instrumentalist he did not recruit was a pianist. A wise move. This permits appropriate direction from the bassist and drummer and allows reliance on a rhythm player who is not burdened by aping or avoiding Bill Evans' style. Such daunting responsibility falls to the guitarist; in most cases, Larry Coryell, who is outstanding in his eight appearances here and, perhaps, emerges as this session’s real star.

The material is carefully drawn from Evans' originals and standards associated with the pianist. But, in a quest for variety, the result is something of a mixed bag. Standouts include sterling takes of "All the Things You Are" (with Lee Konitz), Sebesky's oddly-titled "Bill, Not Gil" and "T.T.T.T." (both featuring Bob Brookmeyer and Eddie Daniels) and, of course, "Waltz for Debby" (with Joe Lovano and Tom Harrell). But Sebesky achieves greatness with his transformation of Evans' lovely "Peace Piece" into an elegant adagio. Effectively coordinating strings, harp, percussion and Hubert Laws' flute, he has surely crafted one for the ages here. His boisterous take on "So What" (with solid contributions from Joe Lovano, Tom Harrell and Larry Coryell) is also worthwhile, but seems reminiscent of his showy work with Wes Montgemery. The three vocal tunes (separately featuring Chet Baker-like John Pizzarelli, Jeannie Bryson and the intolerable New York Voices), though, all are quite unnecessary and seem to break any mood Sebesky may have been aiming for. Still, it's refreshing to hear high-quality orchestral jazz being made in the late nineties  and one hopes Don Sebesky will be in the forefront of keeping it alive. ~ Douglas Payne https://www.allaboutjazz.com/i-remember-bill-a-tribute-to-bill-evans-don-sebesky-rca-victor-review-by-douglas-payne.php

Personnel: Tom Harrell: flugelhorn; Bob Brookmeyer: valve trombone; Joe Lovano: tenor sax; Lee Konitz: alto sax; Eddie Daniels: clarinet; Hubert Laws: flute; Larry Coryell, Ken Sebesky: guitar; John Pizzarelli: guitar, vocals. Marc Johnson, Eddie Gomez: bass; Joe LaBarbera, Marty Morell, Dennis Mackrel: drums; Toots Thielmans: harmonica; Sue Evans, Joe Passaro: percussion; Dave Samuels: vibraphone; New York Voices (Darmon Meader, Lauren Kinhan, Peter Eldridge, Kim Nazarian), Jeanie Bryson: vocals; with brass, woodwinds and strings.

I Remember Bill - A Tribute To Bill Evans

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Larry Coryell - Inner Urge

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 55:01
Size: 127,5 MB
Art: Front

(5:31)  1. Compulsion
(5:45)  2. Abra Cadabra
(5:25)  3. Inner Urge
(4:48)  4. Tonk
(8:01)  5. Dolphin Dance
(6:48)  6. Allegra's Ballerina Song
(5:50)  7. In a Sentimental Mood
(3:59)  8. Turkish Coffee
(8:51)  9. Terrain

Without a second thought, jazz listeners acknowledge Larry Coryell’s prowess on the guitar. But ask one of those listeners to name one recent Larry Coryell performance they have attended or one tune he has recorded within the past decade, and you may get a blank stare. That’s because Larry Coryell unlike, for example, John Scofield or Pat Metheny loses his persona in his music. According to the demands of the music, Coryell transforms his technique and his musical concept for the total fulfillment of a tune’s spirit. Depending on the circumstances, Coryell may be playing flamenco, classical, fusion, blues, rock or jazz guitar. Now, one can’t describe Coryell as modest, but he certainly is dedicated. Having devoted his life to the muse and to the music, Coryell, intensely private, seems to have sacrificed high personal recognition for the opportunity to investigate the guitar in its infinitude of possibilities. The possibilities that Inner Urge offers are those, in large part, of bebop. Consistent in his presentation, Coryell remains out front on each tune as a relaxed, unpretentious and brilliant presence. Don’t believe for a second his claim in the liner notes that “it was a matter of showing up...and staying out of the way.” Rather, Coryell leads the way among a group of equally proficient musicians. Producer and trumpeter Don Sickler suggested the cohesive idea for Inner Urge. Even though the album is appropriately named after a challenging Joe Henderson number, the first and last tunes framing the repertoire were composed by the often neglected tenor saxophonist Harold Land. It seems that Sickler, to his great credit, is pulling together all of Land’s compositions into a single reference. Having been inspired especially by Wes Montgomery, Coryell makes no bones about alluding directly to Montgomery’s unmistakable octaved style and effortless swing on Land’s “Terrain.” 

However, Coryell personalizes his own “Turkish Coffee,” the notes ringing through with crystalline assuredness, due in no small part of Rudy Van Gelder’s sound engineering genius as he employs two amplifiers to document the richness of the guitar. While “Turkish Coffee” hints at Coryell’s wide-ranging flexibility beyond bop tunes, “Allegra’s Ballerina Song,” written in tribute to his daughter, opens Coryell’s heart through his preferred medium of communication music. The slower tunes give evidence, not just of Coryell’s mastery, but of the instrument’s gorgeousness. His note choices on “Dolphin Dance,” not to mention its overall rippling texture, extend the mellowness of the song beyond piano, as established forever by Herbie Hancock. “Dolphin Dance” is one tune that doesn’t seem to be appropriate when led by a horn. “In A Sentimental Mood” exists on the album, it seems, purely for its lyrical strength, which Coryell underplays, sometimes by subtly dampening the strings for a sly percussive commentary. In addition, one may notice that the instruments are so well tuned and that Coryell and Hicks are so intuitive that when Coryell plays a phrase and Hicks repeats it, the differences of the instruments’ timbral characteristics melt away. The third in Coryell’s HighNote “trilogy,” Inner Urge presents a locked-in group for the joyful exploration of jazz, which drives the inner urge of them all. ~ AAJ Staff https://www.allaboutjazz.com/inner-urge-larry-coryell-review-by-aaj-staff.php

Personnel: Larry Coryell, guitar; Don Sickler, trumpet; John Hicks, piano; Santi Debriano, bass; Yoron Israel, drums

Inner Urge

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Larry Coryell - The Dragon Gate

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 43:23
Size: 101,2 MB
Art: Front

(3:42)  1. The Dragon Gate
(3:00)  2. Giant Steps
(3:43)  3. Sunset On Soweto
(4:11)  4. West Coast Blues
(4:38)  5. Molly's Lament
(4:41)  6. Back Bay Blues
(3:45)  7. And She Loved Him
(7:21)  8. Bottleneck Blackout
(3:24)  9. Things Ain't What They Used To Be
(4:52) 10. Snow Prince

This is a strong jazz-oriented date that features Larry Coryell exclusively on acoustic guitar, playing two standard blues unaccompanied, using one or two overdubs on six other tracks and performing a pair of duets with fellow guitarist Stefan Grossman. The music covers a bit of ground from a superior version of "Giant Steps" and tributes to Wes Montgomery and Duke Ellington to some introspective originals, one of which hints at Bob Dylan. The original LP issue also includes a 16-page pamphlet with transcriptions (for guitar) of each of the melodies except "Giant Steps." Recommended, especially to guitarists and those who primarily associate Larry Coryell with fusion. ~ Scott Yanow https://www.allmusic.com/album/dragon-gate-mw0000654926

The Dragon Gate

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Larry Coryell - Traffic

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 62:55
Size: 145,1 MB
Art: Front

(5:12)  1. Judith Loves Jazz
(3:58)  2. Manic Depression
(7:35)  3. Door #3
(7:09)  4. Joyce's Favorite
(7:56)  5. Misterioso
(5:37)  6. Dedication
(7:18)  7. Drums & Bass
(3:43)  8. Jake's Lullaby
(5:14)  9. Overruled
(9:11) 10. Electric Jam

CBW are guitarist Larry Coryell, former Weather Report bassist Victor Bailey and drummer Lenny White a trio capable of ear-blasting blues and funk. What distinguishes this fierce but patchy jazz-rock set from its CBW predecessor, Electric, is an unplugged delicacy on a couple of slow tracks, and good reworkings of imports like Hendrix's Manic Depression and Monk's Misterioso. Coryell, who was a 1970s jazz-rock guitar pioneer, mixes raw fluency and an R&B player's boogieing drive on Door £3. A one-take exercise, the set has its insecurities (Bailey sounds initially uncertain of the famous ascending hook of Misterioso, and Coryell's time can waver), but a what-the-hell boldness usually wins out - like the guitarist's ghostly use of the slide on Misterioso, or Bailey's chord-playing and tapping effects on Drums & Bass. Lots of raw blues and power-playing - though perhaps everybody from Scofield to D'Angelo has reworked these surefire ingredients in more subtle ways. … we have a small favour to ask. More people are reading and supporting The Guardian’s independent, investigative journalism than ever before. And unlike many news organisations, we have chosen an approach that allows us to keep our journalism accessible to all, regardless of where they live or what they can afford. But we need your ongoing support to keep working as we do. ~ John Fordham More... https://www.theguardian.com/music/2007/jan/12/jazz.shopping1

Personnel: Acoustic Guitar – Larry Coryell; Drums – Lenny White; Electric Bass – Victor Bailey; Electric Guitar.

Traffic

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Larry Coryell - The Power Trio: Live in Chicago

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 64:31
Size: 149,8 MB
Art: Front

( 0:07)  1. Spoken Intro to Autumn leaves
( 9:58)  2. Autumn Leaves
( 8:07)  3. Black Orpheus
( 4:39)  4. Love Is Here to Stay
(11:03)  5. Star Eyes
( 4:54)  6. Something
( 7:10)  7. Bumpin' on Sunset
( 8:08)  8. Good Citizen Swallow
(10:21)  9. Bag's Groove

After two recent electric fusion project records with drummer Steve Smith ( Cause and Effect and Count's Jam Band Reunion ), veteran fusion guitarist and composer Larry Coryell returns with Power Trio: Live in Chicago. In this live set captured at the Jazz Showcase, this trio swings through mellow moods with traditional jazz sonic textures, in contrast to the classic fusion that won Coryell fame in the early '70s. The sparse instrumentation, consisting of Larry Gray on upright and electric bass and Paul Wertico on drums, leaves plenty of room for Coryell's guitar to shine. His playing shifts immaculately from bright comping to nimble clean runs or plucked arpeggios, and the rhythm section backs him with subtle confidence. The songs on Live in Chicago range from snappy electric jazz like "Autumn Leaves" through slow dirges like "Black Orpheus" and "Bumpin' on Sunset," to acoustic ballads like "Love is Here to Stay," and Coryell's guitar stirs with beauty in the solo piece "Something." He displays mastery of all these varied styles, but the melodies can't match the catchy heads from his fusion work, like "Scotland I." Coryell and his band perform a solid set of traditional electric and acoustic jazz on Live in Chicago , and the recording captures the crisp feel of live performance, but the music doesn't have the same memorable spark as Coryell's classic or recent fusion. ~ Scott Andrews https://www.allaboutjazz.com/power-trio-live-in-chicago-larry-coryell-review-by-scott-andrews.php

Personnel: Larry Coryell: guitars, Larry Gray: basses, Paul Wertico: drums.

The Power Trio:  Live in Chicago

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Randy Brecker - Score

Styles: Trumpet Jazz 
Year: 1969
File: MP3@320K/s
Time: 38:10
Size: 88,1 MB
Art: Front

(4:34)  1. Bangalore
(7:17)  2. Score
(5:14)  3. Name Game
(1:21)  4. The Weasel Goes Out To Lunch
(4:09)  5. Morning Song
(4:33)  6. Pipe Dream
(5:14)  7. The Vamp
(5:44)  8. The Marble Sea

Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years. The recording has weathered the years well, in part because even the fusion pieces never lose their focus, nor do they compromise artistry for popular fads. "The Weasel Goes Out to Lunch" is a cute, though very short, take on the childhood theme, with the remaining tracks fine examples of late-'60s popular jazz. With well-constructed arrangements, strong soloing, and catchy melodies, Brecker knew he was onto something, and this album was the first of several successful ventures. 

~ Steve Loewy https://www.allmusic.com/album/score-mw0000097519

Personnel:  Randy Brecker - Trumpet, Flugelhorn;  Michael Brecker - Tenor Saxophone;  Jerry Dodgion - Alto Flute;  Larry Coryell - Guitar;  Hal Galper - Piano;  Eddie Gomez - Bass;  Mickey Roker - Drums;  Chuck Rainey - Electric Bass;  Bernard Purdie - Drums

Score

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Leon Thomas - Blues And The Soulful Truth

Bitrate: MP3@320K/s
Time: 42:23
Size: 97.0 MB
Styles: Soul/Funk/Jazz
Year: 1973/2014
Art: Front

[ 4:22] 1. Let's Go Down To Lucy's
[ 2:51] 2. L-O-V-E
[10:15] 3. Gypsy Queen
[ 3:13] 4. Love Each Other
[ 5:21] 5. Shape Your Mind To Die
[ 4:50] 6. Boom-Boom-Boom
[ 5:05] 7. China Doll
[ 6:21] 8. C.C. Rider

Bass – Donald Pate, Gordon Edwards; Drums – Bernard Purdie; Guitar – Cornell Dupree, Larry Coryell; Percussion – Baba Feme; Piano – Neal Creque; Piano, Tenor Saxophone – Pee Wee Ellis; Trombone – John Eckert; Vocals, Percussion – Leon Thomas.

The late Leon Thomas was a vocalist who has proven to be influential among jazz and blues saxophonists, guitarists, and pianists, who've admitted their debt to his innovation. However, though there are many vocalists who have benefited from his style as well, he is seldom acknowledged for his highly original -- and idiosyncratic -- contribution to them. One can only speculate as to why, though Thomas' full-throated style which employed everything from yodels to Joe Turner-ish growls and shouts may have been too wide for anyone to grasp in its entirety without overtly sounding as if they were aping him. Blues and the Soulful Truth is among the artist's most enduring performances, either as a leader or sideman. There is his trademark, otherworldly modal improvisation on Gabor Szabo's exotica classic "Gypsy Queen," the deep, greasy gutbucket, funky blues of "Let's Go Down to Lucy" and "L-O-V-E," and the traditional tune "C.C. Rider" -- though Thomas' arrangement is anything but -- among a lengthy, eight-song set. Perhaps the most revealing examples of his singularity is his ability to interpret a song like John Lee Hooker's "Boom, Boom" as funky, jazzed-out, angular R&B -- enabled mightily by the saxophone stylings of Pee Wee Ellis and the criminally under-appreciated pianism of Neal Creque and the wild violin of John Blair -- after coming out of a pop-oriented soul tune such as "Love Each Other," written with a groove prevalent among commercial jazz and R&B recordings of the time, both sounding sincere, authentic, and completely full of the singer's presence. Indeed, on the aforementioned "Gypsy Queen" or his own "Shape Your Mind to Die," Thomas inhabits his material fully, as if nobody ever had ever sung or heard these songs and would ever sing them again. Also, the production innovation and percussive touches many of these tunes have yet to be repeated (Pharoah Sanders, Thomas' previous employer who introduced the singer to the world, adopted some of the artist's percussive techniques permanently), like the firecrackers raining against Airto Moreira's drums and Larry Coryell's ethereal guitar riffs, or the use of a "prepared" vibraphone and coat hangers in "China Doll," as they slip against the singer's wail and moan, and the elegant stick and brushwork of Bernard "Pretty" Purdie. In sum, Blues and the Soulful Truth (Which does echo Oliver Nelson's Blues and the Abstract Truth in vision as well as title), is a tour through the depth and dimension of Thomas' mind-blowing abilities as a singer in a wide range of African American musical traditions, proving at the time, and now again, that he was far more than a free jazz singer. Indeed, the artist not only was a stylist of originality, but a composer, arranger, ethnomusicologist, and a singer of startling beauty and power -- no matter the song. This album is a singular achievement, even among the fine recordings in Thomas' own catalogue, and should be considered first by those curious enough to look into his work -- you won't be disappointed no matter what you find, but this one will take you places you never anticipated going. ~Thom Jurek

Blues And The Soulful Truth mc
Blues And The Soulful Truth zippy

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Larry Coryell - The Restful Mind

Styles: Guitar Jazz
Year: 1975
File: MP3@320K/s
Time: 36:26
Size: 83,7 MB
Art: Front

(8:14)  1. Improvisation On Robert De Visee's Menuet II
(5:01)  2. Ann Arbor
(5:39)  3. Pavane For A Dead Princess
(5:20)  4. Improvisation On Robert De Visee's Sarabande
(3:15)  5. Song For Jim Webb
(5:46)  6. Julie La Belle
(3:09)  7. The Restful Mind

Guitarist Larry Coryell recorded several sessions for the Vanguard label during the '70s with varying results. He did manage two classics, Spaces, and this one, The Restful Mind. It is no small coincidence that the better the personnel he surrounded himself with, the better he played. On Spaces, the presence of John McLaughlin and Chick Corea raised his playing to another level. Here, with the backing of the group Oregon (with the exception of Paul McCandless), who were also signed to Vanguard at this time), bring out a more reflective and relaxed Coryell. His tendency to fall back on his chops was always a weak spot in his playing, but it is thankfully absent here. Both of the "Improvisation" pieces are highlights in Coryell's career, which along with the other beaufitul selections, make this one of his best, and certainly most overlooked, recordings.~ Robert Taylor https://www.allmusic.com/album/restful-mind-mw0000215215 

Personnel: Larry Coryell (acoustic & electric guitars); Ralph Towner (guitar); Glen Moore (acoustic bass); Colin Walcott (congas, tabla).

The Restful Mind

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David Garfield - Jazz Outside The Box

Size: 207,4 MB
Time: 89:03
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Vocals
Art: Front

01. Fragile (Feat. Michael McDonald, Bruce Hamada & Diego Figueiredo) (5:37)
02. Harvest Time (Acoustic) (Feat. Eric Marienthal & Airto Moreira) (5:49)
03. In A Sentimental Mood (Feat. Poncho Sanchez & Larry Klimas) (5:49)
04. Roxanne (Feat. Robbie Wyckoff & Joe Porcaro) (4:22)
05. Song For My Father (Full-Length) (Feat. John Densmore, Denny Dias & Randy Brecker) (7:14)
06. Rainbow Seeker (Acoustic) (Feat. Chuck Loeb & Steve Jordan) (5:44)
07. Stolen Moments (Feat. Tom Scott & Joe Porcaro) (4:55)
08. Voodoo Gumbo - Citizen Coryell (Feat. Larry Coryell & Airto Moreira) (2:24)
09. East Lou Brew (Feat. Bennie Maupin, Wallace Roney & Larry Coryell) (5:46)
10. Sophisticated Lady (Feat. Poncho Sanchez, Leslie Smith & Pete Christlieb) (6:16)
11. Red Baron (Feat. Randy Brecker & Brian Auger) (4:08)
12. Country Preacher (Feat. Eric Marienthal & Mike Finnigan) (4:56)
13. Prophecy (Feat. Michael Landau & Vinnie Colaiuta) (4:32)
14. My Favorite Things (Feat. Robert Greenidge & Terry Trotter) (5:33)
15. Song For My Father (Radio Version) (Feat. John Densmore, Denny Dias & Randy Brecker) (4:41)
16. Red Baron (Alternate Version) (Feat. Oz Noy & James Harrah) (4:07)
17. Harvest Time (Extended Version) (Feat. Eric Marienthal & Airto Moreira) (6:52)

David Garfield, the guiding light for the jazz-fusion band Karizma, unveils Jazz: Outside the Box. on 2018. He’s not one to stand still as he’s an in-demand player, and has been musical director for George Benson, as well as a solo star in his own right.

Jazz: Outside the Box is a labor of love for the Los Angeles-based keyboardist. He has recorded more than four discs worth of music for the on-going Outside the Box project. Jazz: Outside the Box follows three singles released in 2017: A cover of Stevie Wonder’s “Go Home” featuring Kirk Whalum and Paul Jackson Jr.; “Jamming,” a Bob Marley cover with Mike Campbell; and the original tune “I Lied” he co-wrote with Smokey Robinson for vocalist J. Paris.

The Sting classic “Fragile” kicks things off in fine form. David Garfield’s piano centered arrangement is elegant. Touches of percussion by Kevin Ricard and acoustic bass by Carlos del Puerto move things along, while vocalist Michael McDonald provides an understated charm which is perfectly fitting. John Clayton arranged and conducted the string section on this, and it majestically intertwines with the song.

“In a Sentimental Mood” adds a Latin jazz flavor as percussionist and bandleader Poncho Sanchez adds congas, shakers and his unmistakable flare to bring the proceedings to a simmer. Garfield’s acoustic piano supports the tenor saxophone and trumpet, while the vibraphone toys with the melody. Garfield’s production and arranging allow each player to shine, while they support the song.

Joe Porcaro and Robbie Wyckoff get the same opportunity. Their interpretation of “Roxanne” defies expectations. The trumpet kicks of this song’s melodic core, before the band swings into the familiar tension of the song. Touches of Hammond B-3 support David Garfield’s piano. The band is in full swing mode before the backing vocals enter to support the musical bliss. Wyckoff’s lead vocal is perfect as it never attempts to replicate the original, and Porcaro’s drums (instead of his usual percussion additions) are always a welcome addition to any song. Carmen Grillo fills out the vocals to make this even more of a treat.

Bass, piano and guitar dance with each other in “Rainbow Seeker,” a Joe Sample composition. The late Chuck Loeb provides delicate leads as his electric guitar works magic with the melody. Steve Jordon reminds everyone why he’s so many artists’ first-call drummer. Garfield’s piano, Loeb’s guitar and Jordon’s drums conspire to lift the song to the stars.

Joe Porcaro returns on “Stolen Moments” but, this time, Tom Scott’s tenor is Porcaro’s and Garfield’s playmate. The song’s slow methodical groove is supported by a big band horn chart that flaunts jazz tradition while bringing in something new. Again, Garfield shows off his arranging chops as tenor sax, alto, baritone weave seamlessly with trombone and trumpet. Scott’s tenor solo smokes, as he moves the tempo forward.

The horns have a Steely Dan-meets-Chicago flare, with Chuck Findley and Nick Lane adding trumpet and trombone, respectively. Original Steely Dan guitarist Denny Dias makes a surprise and welcome appearance, going on a series of fluid runs. By the time David Garfield weaves in his acoustic solo, you can’t help but realize the song – and, indeed, all of Garfield’s Jazz: Outside the Box – is something special.

“Sophisticated Lady” features Sanchez again on congas, and an understated lead male vocal. Garfield ties in a full horn section but leaves solo space for the great Pete Christlieb. Christlieb does not disappoint as his bars of pure jazz delight hover above Sanchez’s conga and Garfield’s piano like angels above the clouds.

Karizma members Michael Landau and Vinnie Colaiuta make an appearance on “Prophecy.” The song has a fusion feel with an early drum solo by Colaiuta, nice chunky guitar fills by Landau and a mid-song solo. David Garfield sticks with his acoustic piano as the song builds, yet “Prophecy” seems almost out of place surrounded by the more contemporary jazz selections.

Jason Scheff, the long-time former bassist of Chicago, shows off his considerable jazz chops to “Song For My Father.” His bass is melodic, as its dances with Doors drummer John Densmore’s laid back rim work. Scheff also takes a turn at the mic, lending his unmistakable tenor to the mix. Denny Dias is also along for the ride. Dias, who appears on Garfield’s Porcaro-related Tribute to Jeff album is as tasteful as ever, adding even a touch of “Rikki Don’t Lose That Number” to the melody – even if he didn’t play on that Steely Dan song. The song’s samba beat adds another dimension to Jazz: Outside the Box, which at 17 songs covers a lot of ground.

Jazz: Outside the Box is a fascinating and often exhilarating look at David Garfield’s vision of straight-ahead jazz. Yet it’s only a tease as Garfield plans three more Outside the Box releases covering contemporary jazz, voice and fusion. If Jazz: Outside the Box is any indication, we are in for a treat. ~by Preston Frazier

Jazz Outside The Box

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Jack Walrath - Out Of The Tradition

Styles: Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 58:46
Size: 135,2 MB
Art: Front

(9:22)  1. Clear Out Of This World
(7:11)  2. So Long Eric
(6:46)  3. Stardust
(7:12)  4. Wake Up And Wash It Off!
(7:11)  5. Come Sunday
(7:43)  6. Brother, Can You Spare A Dime?
(7:24)  7. Cabin In The Sky
(5:57)  8. I'm Getting Sentimental Over You

Jack Walrath’s talents have been utilized by Charles Mingus, Ray Charles, Muhal Richard Abrams, Ricky Ford, Sam Rivers, Joe Morello, Mike Clark, Charli Persip, Miles Davis, Quincey Jones, Ray Anderson, Craig Harris, Pete LaRoca, Mike Longo, Elvis Costello, Motown, Larry Willis, George Gruntz, Paul Jeffrey, Gunther Schuller, Hal Galper, the Monk Tentet, Bobby Watson, et al. He has appeared in films, TV and Radio both as a sideman and leader since 1965. He has released 22 record albums as a leader. In addition he has appeared on countless albums with others (Mingus-14, Abrams-3,and others such as Persip, Davis, Lou Rawls, Richie Cole, Ricky Ford, the Jazz Tribe, Joe Lovano, the WDR Big Band, Jamaaladeen Tacuma and Gruntz to name a few). He has written liner notes and articles for DOWNBEAT and the MUSIC REVIEW and for 1 and 1/2 years was a columnist for the INTERNATIONAL MUSICIAN AND RECORDING WORLD. He has been the subject of feature articles in virtually every major jazz trade magazine including. JAZZIZ, DOWNBEAT, MUSIC REVIEW, JAZZTIMES, CADENCE, MUSIC PAPER, HOTHOUSE, JAZZ EMPORIUM, JAZZ FORUM, et al. He has had reviews and appeared in many of the major newspapers around the world. In addition he has biographies and reviews in many books and record guides.

He has written compositions and arrangements for Mingus, Red Rodney, Ira Sullivan, Cecil Brooks III, the Brooklyn Symphony Orchestra, WDR, NDR, UMO Orchestra, Catania City Jazz Orchestra, Charli Persip Superband, Upper Austrian Jazz Orchestra, et al. He has also appeared as a featured artist with most of the above. He was the featured artist with the radio broadcast of the 50th anniversary of the NDR. He has written soundtrack music for “Homicide: Life On The Street” and the Bill Cosby NBC Mystery Movie.In addition to leading his own jazz groups, THE JACK WALRATH GROUP, WHOLLY TRINITY, HARD CORPS, THE MASTERS OF SUSPENSE, and a quintet (which, along with master drummer Mike Clark and master bassist Paul Jackson experimented with rhythms that were to be explored further when Jackson and Clark joined Herbie Hancock’s Headhunters), he was also leader of the MINGUS DYNASTY and THE CHARLES MINGUS BIG BAND. In addition, he has conducted the aforementioned European orchestras and conducted the Mingus work “Epitaph” with the TUCSON JAZZ SOCIETY. In later years he has been touring with the Masters of Suspense, Ray Anderson, Larry Willis, George Gruntz and Sam Rivers. In addition he has been doing special projects around Europe and the US.

He has received composition grants from the National Endowment For The Arts, the Aaron Copland Composition Grant and from the Mary Flagler Cary Trust. He has received performance grants from the NEA and Quad City Arts. He has had compositions/arrangements commissioned for virtually every instrumental combination from symphony orchestra to solo piano. He has written an instruction book that has been published by Advance Music. He has conducted seminars in Italy, Spain, Portugal, Japan, Israel, Finland, the LaGuardia High School and the US. In addition, he has conducted Master Classes and Clinics in many US states and countries at Conservatories all over the world. In New York City he conducted Master classes and/or adult education classes at the Manhattan School of Music, NYU and the New School for Social Research. He has conducted classes from ages 3 to adult and Post-Graduate education through the Quad City Arts, LaGuardia High School of the Performing Arts, and the Myrna Loy Arts Center.

In recent years he has toured/recorded with the Jazz Tribe, George Gruntz, the Mingus Big Band, Mingus Epitaph and the Masters of Suspense. He has repeated many of the aforementioned teaching experiences in addition to conducting seminars in Portugal, Spain and Italy. He has most recently worked through the Litchfield Jazz Camp and the New School (NY). He has continued his recording career as both sideman and leader. His recent records have been some collaborations and co-leaderships with the UAJO, Ze’ Eduardo (Portugal), Bill Moring, Lindsay Horner, the Mingus Big Band; to mention a few. He has another recent album “Invasion of the Booty Shakers” which was released on Savant Records. In January 2008, he led/toured Italy with a quintet stressing “The Spirit of Mingus” which was very, very positively received. He has another upcoming release on Steeplechase Records, called, “Heavy Mirth” "Ballroom" was recently released on SteepleChase. He has been on the faculty twice for the Litchfield Jazz Camp and done seminars in Italy for the New School. In 2009, he was a featured performer/instructor at Siena Jazz in Tuscany. He is currently writing a book of his experiences with Mingus and others and about influential recordings and the “music business.” His Blue Note album, "Master of Suspense" was nominated for a Grammy. Jack Walrath started playing the trumpet at the age of 9 in 1955 while living in Edgar, Montana, a bustling metropolis with the population of 100 (It has since become virtually a ghost town!). He developed a healthy perception of music from lack of negative peer pressure which so often happens in cities. In, 1964 after graduating from Joliet, MT. Highschool, he attended the Berklee College of Music graduating in 1968 with a composition diploma. The diploma program was chosen over that of the degree in order to have classes only of music, therefore actually learning more about music than if he went for a degree! Also he considers his 40 years of major professional experience as the best education of all! http://www.jackwalrath.net/bio/

Personnel:  Jack Walrath – trumpet;  Larry Coryell – guitar;  Benny Green – piano;  Anthony Cox – bass;  Ronnie Burrage – drums

Out Of The Tradition

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Larry Coryell - Clark University, Massachusetts 1976 (Remastered)

Size: 158,4 MB
Time: 68:19
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Julie Labelle (8:30)
02. Juju (3:31)
03. Rodrigo Reflections (6:38)
04. Eyes Of Love (3:25)
05. Improvisations On The Serabon (5:42)
06. The Restful Mind (3:57)
07. Gratitude (5:00)
08. Bouquet (5:17)
09. Renee's Theme (2:22)
10. Ain't It Is (7:05)
11. St. Gallen (9:48)
12. Spain (7:01)

Larry Coryell (April 2, 1943-February 19, 2017) was an American jazz fusion guitarist.

He was born in Galveston, Texas in 1943. After growing up in Seattle, 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. 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 1974. Following the break-up of this band, Coryell played mainly acoustic guitar, but returned to electric guitar later in the 1980s.

Clark University, Massachusetts 1976

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Larry Coryell's 11th House - Seven Secrets

Size: 146,8 MB
Time: 63:26
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Alabama Rhap Corollary (4:57)
02. Mr. Miyake (5:00)
03. Dragon's Way (7:59)
04. Philly Flash (5:04)
05. Molten Grace (5:14)
06. Seven Secrets (6:43)
07. The Dip (5:08)
08. Having Second Thoughts (6:40)
09. Some Funky Stuff (5:55)
10. Mudhen Blues (5:46)
11. Zodiac (4:55)

The final recording by legendary jazz fusion pioneers Larry Coryell and Alphonse Mouton in the reformed the Eleventh House in their all new album Seven Secrets which will be released on June 2nd. The late guitarist Coryell assembled founding members Randy Brecker (trumpet), long-timer John Lee (bass), the addition of son Julian (guitar) and the late Alphonse Mouzon (drums) to bring the rock and funk back to jazz again with a batch of eleven powerhouse tracks. The album is truly a group effort with Coryell relying on each member to contribute compositions to the new album (much like he did back in the 70 s).

In January, he went into a studio in St. Augustine, Florida, and recorded a new Eleventh House project titled Seven Secrets (Savoy/429 Records) with charter members from 1973: Randy Brecker on trumpet and Alphonse Mouzon (1948 2016) on drums, along with John Lee (bassist on the group s 1975 album Level One and 1976 follow-up, Aspects) and Coryell s son Julian, a six-string shredder in his own right, on second guitar.

The results, which will be released in June, are electrifying. Fueled by Mouzon s big-as-a-house back-beats and power-precision fills, Daddy Coryell cuts loose with sheer abandon on several cuts, like his Mr. Miyake and Mouzon s kinetic 7/4 title track. Coryell deals in audacious string-bending on the blues-rocker The Dip and the earthy Mudhen Blues, and delivers some Wes Montgomery-style octaves on the mellow Having Second Thoughts.

But the real killer on Seven Secrets is Lee s Dragon s Way, a 6/8 romp that will whet the appetites of true fusion fans. Sparked by Mouzon s slamming groove and Lee s slippery, singing tones on his resounding Rob Allen fretless bass (with ebony fingerboard and nylon strings), this catchy number also showcases the young Julian s mondo chops, which are coming directly out of the Steve Vai Joe Satriani school. Papa Coryell follows those mind-blowing fusillades with something simple, lyrical, tasty and blue a typically Zen response from the guitar master. --Downbeat

Seven Secrets

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Larry Coryell - Barefoot Boy

Styles: Guitar Jazz
Year: 1971
File: MP3@320K/s
Time: 40:33
Size: 92,9 MB
Art: Front

(11:51)  1. Gypsy Queen
( 8:39)  2. The Great Escape
(20:03)  3. Call To The Higher Consciousness

Produced by Bob Thiele and recorded at Electric Lady studios with engineer Eddie Kramer, Barefoot Boy is one of Larry Coryell's finest recordings as a leader. "Gypsy Queen" was recorded prior to bassist Mervin Bronson's arrival at the studio, and features the percussion section locking into a groove over which Coryell lays down a riff and Steve Marcus cuts loose with a fiery soprano sax solo. When it's his turn to solo on this opening number, Coryell turns up the heat, sounding like a cross between Jimi Hendrix and Sonny Sharrock. (Coryell played with Sharrock on Herbie Mann's Memphis Underground.) "The Great Escape" finds Coryell cooking over a bass and percussion groove, with Marcus on tenor sax. "Call to the Higher Consciousness" is a side-long 20-minute jam in which all the players take a ride, with Marcus once again cooking on the soprano sax. Roy Haynes is superb throughout, working in tandem with the percussionists to keep the music moving. This recording is a noteworthy example of the possibilities inherent in the early days of fusion, blending the electrifying energy of rock with the improvisational excitement of jazz. ~ Jim Newsom http://www.allmusic.com/album/barefoot-boy-mw0000117582

Personnel:   Guitar – Larry Coryell;  Bass – Mervin Bronson (tracks: 2, 3);  Congas [Conga] – Lawrence Killian;  Drums – Roy Haynes;  Percussion – Harry Wilkinson;  Piano – Mike Mandel (tracks: 3);  Soprano Saxophone – Steve Marcus (tracks: 1, 2);  Tenor Saxophone – Steve Marcus (tracks: 3)

Barefoot Boy

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Charlie Byrd, Herb Ellis, Mundell Lowe - The Return Of The Great Guitars

Bitrate: MP3@320K/s
Time: 59:12
Size: 135.5 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[4:51] 1. Things Ain't What They Used To Be
[4:17] 2. When Lights Are Low
[4:28] 3. A Smooth One
[5:13] 4. My Funny Valentine
[4:23] 5. The Lady In Red
[3:50] 6. Soft Winds
[4:25] 7. Bernie's Tune
[4:44] 8. I Remember You
[4:30] 9. Waltz For Wes
[4:35] 10. Seven Come Eleven
[4:28] 11. Billy Bean!
[4:33] 12. Night Roby Get-A-Way
[4:48] 13. On The Trail

The first recording by the Great Guitars in over a decade has a change in personnel. A serious stroke had ended Barney Kessel's career, but Herb Ellis and Charlie Byrd were still very much active. Fellow veteran guitarist Mundell Lowe took Kessel's place, and as a wild card, on eight of the 13 selections the versatile Larry Coryell is heard on fourth guitar. With fine backup by bassist John Goldsby and drummer Tim Horner, the guitarists swing hard on a variety of bop and swing-oriented tunes including "Things Ain't What They Used to Be," "A Smooth One," "The Lady in Red," and "Seven Come Eleven," in addition to some more recent originals. ~Scott Yanow

The Return Of The Great Guitars

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Larry Coryell - Joy Spring: The Swinging Side Of Larry Coryell

Bitrate: MP3@320K/s
Time: 57:28
Size: 131.5 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[6:45] 1. Joy Spring
[4:45] 2. The Duke
[5:02] 3. My Shining Hour
[8:50] 4. 'Round Midnight
[6:28] 5. Nefertiti
[5:46] 6. Yesterdays
[6:04] 7. Moment's Notice
[5:04] 8. Sophisticated Lady
[8:40] 9. All The Things You Are

Larry Coryell (guitar); Kenny Barron, Stanley Cowell (piano); Buster Williams (bass instrument); Marvin "Smitty" Smith, Beaver Harris, Billy Hart (drums).

Joy Spring is a compilation of straight-ahead tracks that guitarist Larry Coryell recorded over a four-year period for the Muse label, now reissued on the refueled and retooled Savoy Jazz label. Recorded a decade after his super fusion Eleventh House band split, Coryell is in the company of first-rate jazz talent on these three sessions with such luminaries as Stanley Cowell, Billy Hart, Buster Williams, Marvin "Smitty" Smith, and Beaver Harris (Cowell being the only constant). The tunes range form standards like the Arlen & Mercer classic "My Shining Hour," and Jerome Kern's "Yesterdays" to a completely reharmonized version of Thelonious Monk's "'Round Midnight," Wayne Shorter's "Nefertiti," and a wailing read of Clifford Brown's "Joy Spring," which opens the album. There are also fine interpretations of John Coltrane's "Moment's Notice" and Duke Ellington's "Sophisticated Lady." The only problem is that while the disc does show Coryell's straight chops in fine form and his band swinging like mad, it can feel a little schizophrenic at times, given the range of material, but perhaps that's inevitable for a comp that is apt to showcase just how deep the guitarist's roots go. ~Thom Jurek

Joy Spring: The Swinging Side Of Larry Coryell

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Larry Coryell - Monk, Trane, Miles & Me

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 57:08
Size: 131,2 MB
Art: Front

(6:48)  1. Star Eyes
(5:52)  2. Alone  Together
(5:34)  3. Trinkle Tinkle
(6:04)  4. Fairfield County Blues
(7:16)  5. Patience
(6:27)  6. Up Against The Wall
(6:13)  7. Naima
(7:43)  8. All Blues
(5:08)  9. Almost a Watz

This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima" and the forthright reading of the 12-bar blues "Up 'Gainst the Wall" featuring Williams. The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they. Coryell always chooses extraordinary sidemen, and when you pick pianist John Hicks (on four cuts, including the gorgeous "Naima") bassist Santi Debriano and drummer Yoron Israel, you've got a winning team. It's also great that Coryell introduces new material, like the soulful, swinging "Fairfield County Blues," Hicks and Coryell in complete accord, with a tip of the chordal-and-single-line-combo hat to Wes Montgomery. "Almost a Waltz," also written by the leader, is molasses slow, in 4/4, and a calm ending to this fulfilling disc. Coryell's virtuosity is evident; harnessed, and sounding better than ever, utilizing a prototype Cort LCS-1 model he designed. Several recent efforts can also be easily recommended, but this finely crafted recording ranks with any of his many better-to-best dates. ~ Michael G.Nastos http://www.allmusic.com/album/monk-trane-miles-me-mw0000049693

Personnel:  Bass – Santi Debriano;  Drums – Yoron Israel;  Guitar – Larry Coryell;  Piano – John Hicks ;  Tenor Saxophone – Willie Williams

R.I.P.
Born: April 2, 1943 
Died: February 19, 2017

Monk, Trane, Miles & Me

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Larry Coryell - Major Jazz Minor Blues

Bitrate: MP3@320K/s
Time: 64:27
Size: 147.5 MB
Styles: Blues-jazz guitar
Year: 1998/2010
Art: Front

[6:04] 1. Moment's Notice
[4:43] 2. The Duke
[8:47] 3. 'round Midnight
[6:45] 4. Joy Spring
[5:39] 5. Yesterdays
[6:50] 6. No More Booze, Minor Blues
[8:25] 7. Tender Tears
[5:01] 8. My Shining Hour
[7:01] 9. Toka Do
[5:06] 10. Sophisticated Lady

Bass – Buster Williams, George Mraz; Drums – Beaver Harris, Billy Hart, Marvin "Smitty" Smith; Guitar – Larry Coryell; Piano – Albert Dailey, Kenny Barron, Stanley Cowell.

A jazz-rock pioneer during the late '60s and '70s, Larry Coryell was also a strong performer in a straight-ahead setting, as evidenced by his recordings for Muse during the latter half of the '80s. Major Jazz Minor Blues reissues ten titles from those records, most in a trio setting, and finds him reacting well with sidemen including bassists Stanley Cowell and George Mraz and pianists Kenny Barron and Billy Hart. The disc captures two of his best originals from the era, "Tender Tears" and "No More Booze, Minor Blues," plus Coryell's surprisingly nuanced versions of "'Round Midnight," "My Shining Hour," and "Sophisticated Lady."

Major Jazz Minor Blues

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