THE ESSENTIAL LARRY CORYELL

This anthology which was released in 1975 covers recordings from the early period of Coryell`s solo career which was easier to follow and more consistent than the later stages of the `70s which became more eccentric. The CD re-issue cuts two tracks from the original vinyl release but still contains an excellent compact ( and low priced ) examination of his exploratory fusion work between 1968 and 1973.

There are examples of Coryell jamming away in the late sixties on tracks like Lady Coryell, Stiff Neck and The Jam With Albert which are solid indicators of the improvisational artistry he would apply to future musical endeavours. We also get a glimpse into the guitarists intellectual and abstract attitudes towards marrying traditional jazz ideas with modern rock music. The contemplative Spaces ( Infinite ) contrasts his approaches with those of John McLaughlin who was also toying around with hybrid jazz/rock experiments at the time. More orchestrated compositions are presented with Coryell in larger band formats from three of his albums with his first band, Foreplay as well as an interpretation of German jazzman Wolfgang Dauner`s composition, Yin from The Eleventh House, a prominent jazz rock outfit he would lead for 3 years which acquired a cult following on both sides of the Atlantic as well as Japan.

While sounding somewhat raw and primitive when compared to other fusion developments in the `70s, these prodigious recordings with concoctions of blues, jazz, country and rock elements exemplify why Coryell has been often credited as being the architect of fusion. Anyone who wants to know where fusion came from should consult this collection for reference purposes if not for Coryell`s intense playing during this period.

I hope Coryell fans will forgive me for saying so, but (with a few exceptions) this sounds like the kind of jazz-rock that hasn't worn well. You only need to play "Elementary guitar solo 5" or "Lady Coryell" to exclaim: 'Oh yes! I know just what's going on! Late 1960s: jazz cats desperately trying to stay hip!' The former sounds like a jam based on "She came in through the bathroom window" (off ABBEY ROAD); the latter is underwhelmingly psychedelic - you can't help thinking Jeff Beck and Jimi Hendrix did the same sort of thing a thousand times better. On "Yin" and "Scotland 1" the extended use of nervous, high-pitched trumpet and soprano sax sounds supremely irritating. The main problem seems to be that the musicians concerned attempted to fuse rock-guitar solos and a hard-rock beat with 1960s free jazz. The result is neither fish nor flesh. The classic 1950s and early 1960s recordings by the likes of Miles Davis, Thelonious Monk and Eric Dolphy now sound ten times fresher.

Nevertheless, this collection does contain a couple of great tunes. "The jam with Albert" does exactly what it says on the tin: it's a supremely dirty jam for rock guitar, bass (played by a guy called Albert) and drums. On "Stiffneck" Coryell duets with renowned jazz drummer Elvin Jones and therefore (mostly) limits himself to traditional jazz guitar. On the highly exciting "Spaces (Infinite)" Coryell is joined by fellow guitarist John McLaughlin, bass player Miroslav Vitous and drummer Billy Cobham. Finally, "After Later" is another free-spirited jam for guitar, bass and drums.

My only regret is that this CD-reissue does not contain Coryell's gorgeous collaboration with acoustic guitarist Ralph Towner (and two other founding members of the band Oregon), which opened the original double album (when it was still an LP).