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LARRY CORYELL

Jazz Rock/Fusion • United States


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Larry Coryell biography
"The greatest musician who ever lived as far as I'm concerned is Jimi
Hendrix, but I hate him because he took everything away from me that
was mine."
-Larry Coryell

Never consistently identified with any specific style of jazz or music in general, the improvisational guitar technique of Larry Coryell has lent its voice to a myriad of styles and moods of the musical spectrum. Jazz-rock fusion, blues, folk, contemporary classical, post bop, East Indian modal as well as forays into rhythmic Brazilian ethnic music make up some of the styles he has mastered over the course of 40 years of recording and performing. The configurations in which he performed were as equally as diverse and he has appeared in super bands, guitar duos, trios as well as a brooding unaccompanied soloist.

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...
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TrafficTraffic
Super Audio CD - DSD
Chesky Records 2006
Audio CD$12.51
$9.99 (used)
With The Wide Hive PlayersWith The Wide Hive Players
Bcm Entertainment 2011
Audio CD$9.97
$9.27 (used)
Heavy FeelHeavy Feel
Wide Hive Records 2015
Vinyl$11.93
$8.99 (used)
Prime Picks: The Virtuoso Guitar OfPrime Picks: The Virtuoso Guitar Of
HighNote 2010
Audio CD$10.61
$9.65 (used)
Barefoot BoyBarefoot Boy
Import
BGP / Beat Goes Public 2013
Audio CD$6.54
$6.53 (used)
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LARRY CORYELL discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LARRY CORYELL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.12 | 8 ratings
The Free Spirits - Out Of Sight And Sound
1967
3.00 | 7 ratings
Lady Coryell
1969
3.54 | 10 ratings
Coryell
1969
3.84 | 32 ratings
Spaces
1970
4.43 | 12 ratings
Barefoot Boy
1971
3.00 | 4 ratings
Basics
1971
4.05 | 2 ratings
Offering
1972
2.13 | 4 ratings
The Real Great Escape
1973
3.98 | 33 ratings
Introducing (The Eleventh House With Larry Coryell)
1974
3.90 | 12 ratings
Planet End
1975
4.05 | 19 ratings
Level One (Larry Coryell & The Eleventh House)
1975
3.15 | 8 ratings
The Restful Mind
1975
3.39 | 9 ratings
Aspects (The Eleventh House featuring)
1976
3.33 | 5 ratings
Twin-House (with Philip Catherine)
1977
4.00 | 1 ratings
The Lion & The Ram
1977
3.31 | 11 ratings
Back Together Again (with Alphonse Mouzon)
1977
3.54 | 3 ratings
European Impressions
1978
3.09 | 3 ratings
Standing Ovation
1978
3.61 | 3 ratings
Difference
1978
3.00 | 2 ratings
Larry Coryell with Philip Catherine - Splendid
1978
4.00 | 3 ratings
Return
1979
3.33 | 3 ratings
Tribuatries (with John Scofield and Joe Beck
1979
3.00 | 1 ratings
Bolero
1981
0.00 | 0 ratings
Le Sacre du Printemps
1983
0.00 | 0 ratings
Comin' Home
1984
5.00 | 1 ratings
Larry Coryell & Emily Remler Together
1985
3.00 | 1 ratings
Larry Coryell & Michal Urbaniak A Quiet Day In Spring
1985
2.00 | 1 ratings
The 11th House
1985
0.00 | 0 ratings
American Odyssey
1990
2.00 | 1 ratings
Toku Do
1992
1.00 | 3 ratings
Fallen Angel
1993
0.00 | 0 ratings
Sketches Of Coryell
1996
3.12 | 5 ratings
Spaces Revisited
1997
3.88 | 5 ratings
Cause and Effect
1998
0.00 | 0 ratings
Monk, Trane, Miles & Me
1999
0.00 | 0 ratings
New High
2000
3.00 | 1 ratings
The Coryells
2000
0.00 | 0 ratings
Inner Urge
2001
0.00 | 0 ratings
Cedars Of Avalon
2002
3.00 | 1 ratings
Moonlight Whispers
2002
3.67 | 3 ratings
Tricycles
2004
3.00 | 1 ratings
Electric
2005
3.91 | 2 ratings
Traffic
2006

LARRY CORYELL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.08 | 5 ratings
At The Village Gate
1971
4.09 | 3 ratings
Fairyland (Montreux Festival, 71)
1971
3.95 | 2 ratings
Two For The Road ( with Steve Khan )
1976
3.92 | 5 ratings
Larry Coryell & The Eleventh House At Montreux
1978
0.00 | 0 ratings
Larry Coryell, Philip Catherine & Joachim Kuhn Live!
1980
2.51 | 3 ratings
Live From Bahia
1992
4.00 | 1 ratings
Three Guitars (with Badi Assad and John Abercrombie)
2003
3.00 | 1 ratings
The Power Trio (Live In Chicago)
2003
3.00 | 1 ratings
Laid Back & Blues Live At The Sky Church In Seattle
2006

LARRY CORYELL Videos (DVD, Blu-ray, VHS etc)

4.00 | 1 ratings
Three Guitars (with Badi Assad and John Abercrombie)
2004
4.00 | 1 ratings
A Retrospective (A sequel to his story)
2007

LARRY CORYELL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.70 | 5 ratings
The Essential Larry Coryell
1975
0.00 | 0 ratings
Larry Coryell & The Eleventh House Improvisations The Best Of THe Vanguard Years
1999
0.00 | 0 ratings
Prime Picks: The Virtuoso Guitar of Larry Coryell
2010

LARRY CORYELL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

LARRY CORYELL Reviews


Showing last 10 reviews only
 Aspects (The Eleventh House featuring) by CORYELL, LARRY album cover Studio Album, 1976
3.39 | 9 ratings

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Aspects (The Eleventh House featuring)
Larry Coryell Jazz Rock/Fusion

Review by Suedevanshoe

3 stars Aspects is the obligatory mid 70's album where Larry Coryell attempts to throw some funk in the mix. In the end, it sounds more like Jeff Beck recorded for CTI in between Blow by Blow and Wired. The funk isn't really there, nor are the guitar freakouts Coryell made his name on in the early years. Inserted is a healthy dose of commercialism, instead of blazing a new trail the music follows trends to closely, probably owing to the presence of Randy Brecker in the producers chair. Terumasa Hino is a fine addition on the trumpet, but he can't ignite this tepid set.

It's a fine record, it just sounds a bit like these pros are going through the motions.

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 Larry Coryell & Emily Remler Together by CORYELL, LARRY album cover Studio Album, 1985
5.00 | 1 ratings

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Larry Coryell & Emily Remler Together
Larry Coryell Jazz Rock/Fusion

Review by Vibrationbaby

— First review of this album —
5 stars This was a very special partnership. One that was almost inevitable. Although I had never heard of Emily Remler when " Together ''came out in August of '85, I snapped it up because it had Larry's name attached to it. A lady jazz player? This I had to hear. By this time, Emily Remler at the age of 28, had recorded 3 solo albums and was already running with big dogs including jazz guitar legend Herb Ellis who was one of her early mentors. Larry Coryell who really needs no introduction was a legend in his own right having played with just about everyone who mattered in the world of jazz from Chartrles Mingus to John McLaughlin

What is so notable about '' Together '' is that the two individual vituosos are a generation apart ( Coryell was 42 ) and yet this isn't even slightly noiceable so mature was Remleer's playing at her young age. It is very obvious though that this was a learning experience for both. The genesis of this affiliation had it's seed in a series of impromptu gigs in a Charlottesville, Virginia student hangout where they would jam with locall musicians arriving unanounced. This would elicit comments such as, '' Not bad for a couple of locals ! ''.

Both were veryy similar yet disimilar at the same time. Both had similar beginnings in that they both started out on instruments other than the guitar and both started out playing straight rock 'n roll and became progressively more adventurous. Coryell was spawned on the stylings Beatles and Dylan which he melded into a fusion style on his 1967 album with '' The Free Spirits, Out Of Sight And Sound '', arguably the first jazz/rock fusion album. Remler started out emulating the sounds of Led Zeppelin, Clapton and the Stones but gradually became more interrested in the tonal complexities of East Indian music most notably Ravi Shankar. She also explored Brazilian rythmns before graduating from the Berkley Scool Of Music at the very young age of 18 ! Coryell was literally all over the musical map while Remler took a more traditional approach embracing phraseologies of Wes Montgomery, Charlie Christian and Pat Metheney among others..

'' Together'' is is mostly an electric album that features only the two Coryell penned tracks ( Six Beats, Six Strings and Arubian nights ) on 6 and 12 string acoustic guitars respectively. One of the beautiful things about the album is trying to figure out who is playing what and when. But sometimes it is more than obvious especially when Remler is playing the melody. Her smoother more rythmic approach is the polar opposite of Coryell's more abrasive right hand attacks but it works man! Don't expect anything like the Coryell / Philip Catherine or Coryell / Steve Kahn alliances from the late seventies where it was virtuall y impossible for the untrained ear to figure out who was who.

Women in jazz even at this point in the mid 1980s were more or less known as vocalists but by this time Remler had progressed from a novelty to a guitar force in the jazz world. I think she even steals the show somewhat on pieces such as the jazz waltz How My Heart Sings a bit of an upbeat version of the Earl Zundras standard, made popular to Jazz affivionados in the early sixties by pianist Bill Evans.This is not to say that Coryell ever gets left in the dust as he constantly adapts to her rather more lyrical phrasings although he does go off the deep end sometimes especially on his two compositions Arubian Nights anfd Six Beats, Six Strings the latter of which features a spooky solo, a wonderful contrast all the same.

The stand out track is without a doubt is the Antonia Carlos Jobin Bossa Nova How Insensitive ( almost certainly Remler's idea ) which is saved for the end of the 45 minute work. But I digress. The whole album in all it's differenrt moods is absolutely hypnotic. One of the suprises was the 1934 bluesy standard Ill Wind which was previously performed by such greats as Ella Fitzgerald, Sarah Vaughn and even old blue eyes Frank Sinatra. Here we get an exquisite instrumental version played on Gibson electric hollow bodies. Another track that showcases Remler' s penchant for two tone rythmns is the Pat Martino' standard Gerri's Blues. Remler also gets to swing it out on Joy Spring a Joe Pass fave from the sixties.

One of my favourite jazz albums ever that not only introduced me to the brilliant musicianship of Emily Remler who left this Earth way to early at the young age of 32.It also showcases Coryell at the top of his game. It seems that he goes through some sort of strange metamorphosis when paired with another guitarist or guitarists and '' Together '' is no exception. Positively one of the most expressive jazz recordings to emerge from the 1980s. Unfortunately original vinyl specimens are rather pricey. I saw a Japaneese picture dis pressing going for $ 80 on eBay. Anorther anecdote to this remarkable recording is that they toured together for the last half of 1985 and a few bootleg recordings surfaced not only highlighting tracks from the album but other interpretations of standards and originals. The only sad ending to this affiliation was that it was a one off and I'm sure the partnership would have rekindled itself had it not been for emily's untimely death.

Absolutely essential listening for every jazz guitar head. A real jewel. 5 stars, what else?

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 Level One (Larry Coryell & The Eleventh House) by CORYELL, LARRY album cover Studio Album, 1975
4.05 | 19 ratings

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Level One (Larry Coryell & The Eleventh House)
Larry Coryell Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars Most seem to prefer the first ELEVENTH HOUSE album but this one is a close second. For me the highlights are listening to Coryell on the guitar and Mouzon on the drum kit. Mouzon of course played on WEATHER REPORT's debut and man he takes the spotlight here much of the time.

"Level One" is a top three for me. This sounds really good, such a powerful sound and the drumming is killer. Coryell lights it up after a minute. "The Other Side" is uptempo with a great sounding rhythm section. Trumpet and electric piano come to the fore after 1 1/2 minutes. It's the guitar's turn before 3 minutes as Larry starts to solo. "Diedra" is laid back with some tasteful guitar before 2 minutes. "Some Greasy Stuff" is uptempo with horns blasting then we get some nasty guitar before 1 1/2 minutes. Back to the horns then the guitar returns late to end it. "NYCTOPHOBIA" is a top three as well. The drums impress and this one gets pretty intense. Yes they really rock hard here.

"Suite" is my final top three. Piano to start then it kicks in with horns. Guitar takes over before a minute but then the horns return. It settles right down to a calm 2 minutes in then kicks back in after 4 minutes. Great sound ! "Eyes Of Love" is mellow with acoustic guitar. "Struttin' With Sunshine" hits the ground running and the guitar is ripping it up a minute in. "That's The Joint" ends it with an intense ride as they let it all hang out.

An impressive release but it lacks warmth. Still for the guitar and drums alone I have to give this 4 stars.

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 Spaces by CORYELL, LARRY album cover Studio Album, 1970
3.84 | 32 ratings

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Spaces
Larry Coryell Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

2 stars I'm pretty sure I had to wipe the drool from my chin when I first saw the lineup for this album. Larry Coryell and John McLaughlin on guitars, Miroslav Vitous double bass, Billy Cobham drums and Chick Corea electric piano. These guys should have burned the studio down they recorded in with that kind of fire-power right ? Well that's the problem, there is no fire. This comes across as one of those unplugged records or like a traditional acoustic Jazz album. So disappointed. It's like Coryell and McLaughlin are picking away usually in a fast paced manner but it all sounds the same and there is zero power. No amplified notes at all. Chick plays on one track only unfortunately because I do love the sound of electric piano.

Now there is what sounds like violin on a few songs including the opener "Spaces (Infinite), and i'm assuming it Vitous who does like to play bowed bass. This song changes tempos several times as the guitar and bass standout. "Rene's Theme" is more of the same as we hear strummed and picked guitar. Bass stands out 2 minutes in. "Gloria's Step" has more bowed bass with intricate guitar lines.

"Wrong Is Right" has uptempo picked guitar with cymbals and bass then bowed bass joins in. "Chris" is better as Corea helps out on electric piano but by this time i'm so done listening to this (haha). "New Year's Day In Los Angeles-1968" ends it with 20 seconds of guitar.

Great album cover and an incredible lineup. The music though lacks the "Rock" in Jazz / Rock.

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 Live From Bahia by CORYELL, LARRY album cover Live, 1992
2.51 | 3 ratings

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Live From Bahia
Larry Coryell Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

2 stars Larry Coryell another album from 90-s, this time - recorded in Brazil and played with mostly Brazilian musicians (Billy Cobham is on board though).

Nineties are far not the best period in Coryell music for fusion fans. His music long before turned to smooth jazz and soft world fusion. This album is not much different.

Compositions all are relaxed world fusion, based on Latin music: some elements of samba and bossa-nova could be found almost in each composition. But the main problem is not only musical genre - Coryell plays very relaxed guitar,openly leaving front plan to winds and even percussion. Sound is soft, well rounded and very comfortable, but better fits for cocktail party, not for active listening. Musical mix is well balanced, no bright solos or rhythm breaks occur.

Even in few more jazzy/fusion songs Larry guitar sound too lazy and polished to attract anyone. In addition Cobham's drumming is extremely uninspired ( I again and again started thinking his name is placed on album's cover between other musicians by mistake).

In all - pleasant and comfortable Latin fusion album, one between thousand similar releases. Nothing to add.

My rating is 2+.

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  Introducing (The Eleventh House With Larry Coryell) by CORYELL, LARRY album cover Studio Album, 1974
3.98 | 33 ratings

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Introducing (The Eleventh House With Larry Coryell)
Larry Coryell Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars Most popular Larry Coryell album, really not a bad one ... but not for my taste.

Larry plays plenty of fast, technical and liquid guitar, and in best moments it sounds as excellent fusion from mid 70-s. But - whole music is bombastic (not very often case for progressive jazz fusion from mid 70-s), and Randy Brecker's trumpet adds many of brass orchestration I really don't like there.

By my head I understand, that Larry demonstrates there possibly one of his best fusion guitars playing, but the whole music just doesn't touch my heart. It too often looks as bombastic demonstration of musicians abilities and real great atmosphere you can so often feel in many early 70-s fusion releases, is absent there.

Again, it's more question of taste I believe. If you can enjoy fast and technical guitar-based jazz fusion with some bombastic brass all around, possibly you will like this album more than me. And -Alphonse Mouzon's drumming there is really great!

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  Two For The Road ( with Steve Khan ) by CORYELL, LARRY album cover Live, 1976
3.95 | 2 ratings

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Two For The Road ( with Steve Khan )
Larry Coryell Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars True story: in 1981 I was working backstage at the Boston Globe Jazz Festival. Larry Coryell was playing that night. While he was warming up, I mentioned that I had recently bought this album and loved the version of Chick Corea's Spain that he and Steve Khan played on it. He thanked me, and continued getting ready for the show. A few songs in, he broke into a burning rendition on his Ovation. I was thrilled.

Coryell's solo acoutic albums are great, but when he has anothe guitarist to hold the rhythm and trade solos with, he takes it to another level. While this whole album is great, standout tracks are the above mentioned Spain, Son Of Stiff Neck, and Wayne Shorter's Footprints.

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 Spaces by CORYELL, LARRY album cover Studio Album, 1970
3.84 | 32 ratings

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Spaces
Larry Coryell Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

5 stars This album is one of the granddaddies of the jazz rock fusion world. While Miles Davis may be credited for popularizing fusion with the jazz crowd, it was artists like Larry Coryell (here with the help of other future fusion giants John McLaughlin, Billy Cobham, Miroslav Vitous and Chick Corea) who shaped it into the powerful form it took in the early seventies with bands like Return To Forever and The Mahavishnu Orchestra.

While the music here is still much closer to jazz than rock, you can hear the beginnings of what was to come. And the performances on this album are just spectacular. Coryell and McLaughlin play rings around each other on most of the songs, with Vitous on acoustic bass, sometimes bowed, and sometimes almost getting an electric bass-like sound.

Chick Corea only appears on one track (Chris), but no matter, the band on this album is so great that really don't need him on the rest of the album.

A super cool album.

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 European Impressions by CORYELL, LARRY album cover Studio Album, 1978
3.54 | 3 ratings

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European Impressions
Larry Coryell Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars There arent that many acoustic guitarists in the world that I would want to sit and listen to for an entire concert of solo jazz pieces. But Larry Coryell is one of them. And actually, around the time this was recorded, I did see him play live solo concerts a few times. And this is a nice example of just what his shows were like.

The first LP side (the first three songs) are from a concert at the Montreux Jazz Festival, and sidw two was recorded in a studio. The pieces range from romantic pieces, like April Seventh to just wild improvisation, like Toronto Under The Sign Of Capricorn.

As far as I know, this has never been reissued on CD. Too bad. I bet it would sound great.

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 Fallen Angel by CORYELL, LARRY album cover Studio Album, 1993
1.00 | 3 ratings

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Fallen Angel
Larry Coryell Jazz Rock/Fusion

Review by Alucard
Special Collaborator Honorary Collaborator

1 stars Larry Coryell is one of the most important musicians in the jazz-rock field. He realized early on the importance of Jimi Hendrix and managed to combine rock and jazz guitar playing in an interesting way. He realized some of the most influential jazz rock records. Creed Taylor created in the 60 his own CTI label. His speciality is and was the fusion of orchestral arrangements, made by his house arranger Don Sebesky, and Jazz. He produced some interesting records by George Benson, Wes Montgomery and Deodato, but a lot of the CTI records are pure Easy Listening Jazz. This 1993 record presents a mix of standards like Stardust, Misty, Stella By Starlight plus two originals compositions by Coryell, all arranged and programmed by CTI house arranger Don Sebesky with a couple of guest musicians among them two singers on four of the tracks. If you look thorough the line up you will remark the absence of a rhythm section and in fact bass, drums and chords are all programmed. I have nothing against synth programming but in this particular case the result is awful. George Benson released a great soulful record of standards which features just his guitar and voice. The result here is just the opposite, a cold annoying soulless assemblage which Coryell's guitar on top can't rescue. The only track that stands out (mainly because the rest is so bad) is one of the two Corryell compositions Westerly Wind, the only track without programming where Coryell overdubbed himself on guitar. Do yourself a favour and avoid this record.

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Thanks to Sean Trane for the artist addition.

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