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LARRY CORYELL

Jazz Rock/Fusion • United States


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Larry Coryell picture
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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Offering (2018 reissue)Offering (2018 reissue)
Wounded Bird Records 2018
$10.35
$10.23 (used)
Restful Mind (2018 reissue)Restful Mind (2018 reissue)
Wounded Bird Records 2018
$10.01
$10.23 (used)
Real Great Escape (2018 reissue)Real Great Escape (2018 reissue)
Wounded Bird Records 2018
$13.98
European ImpressionsEuropean Impressions
Limited Edition
Sony 2017
$14.68
$18.06 (used)
MontgomeryMontgomery
Patuxent Music 2011
$13.56
$11.00 (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)

4.08 | 15 ratings
The Free Spirits: Out Of Sight And Sound
1967
3.10 | 12 ratings
Lady Coryell
1968
3.64 | 18 ratings
Coryell
1969
3.86 | 40 ratings
Spaces
1970
4.54 | 21 ratings
Barefoot Boy
1971
4.02 | 9 ratings
Offering
1972
2.26 | 8 ratings
The Real Great Escape
1973
4.03 | 44 ratings
The Eleventh House: Introducing The Eleventh House With Larry Coryell
1974
4.00 | 17 ratings
Planet End
1975
4.15 | 28 ratings
The Eleventh House: Level One
1975
3.31 | 13 ratings
The Restful Mind
1975
4.04 | 5 ratings
The Lion & The Ram
1976
3.11 | 8 ratings
Basics
1976
3.43 | 13 ratings
The Eleventh House: Aspects
1976
3.40 | 15 ratings
Larry Coryell & Alphonse Mouzon: Back Together Again
1977
3.39 | 10 ratings
Larry Coryel & Philip Catherine: Twin-House
1977
4.00 | 6 ratings
Larry Coryel & Philip Catherine: Splendid
1978
3.17 | 4 ratings
Standing Ovation
1978
3.64 | 5 ratings
Difference
1978
3.57 | 4 ratings
European Impressions
1978
3.75 | 4 ratings
Larry Coryell, John Scofield & Joe Beck: Tributaries
1979
4.00 | 6 ratings
Return
1979
5.00 | 1 ratings
Boléro
1981
4.00 | 2 ratings
Boléro
1981
5.00 | 1 ratings
Le Sacre Du Printemps
1983
4.00 | 1 ratings
Comin' Home
1984
3.50 | 2 ratings
Larry Coryell & Michał Urbaniak: A Quiet Day In Spring
1984
2.18 | 2 ratings
Larry Coryell & Alphonse Mouzon: The 11th House
1985
4.91 | 2 ratings
Larry Coryell & Emily Remler: Together
1985
2.14 | 2 ratings
Toku Do
1988
4.00 | 1 ratings
American Odyssey
1990
1.13 | 4 ratings
Fallen Angel
1993
4.00 | 1 ratings
Sketches Of Coryell
1996
3.11 | 7 ratings
Spaces Revisited
1997
3.88 | 5 ratings
Larry Coryell, Steve Smith & Tom Coster: Cause And Effect
1998
3.00 | 2 ratings
Monk, Trane, Miles & Me
1999
4.00 | 1 ratings
New High
2000
3.05 | 2 ratings
The Coryells
2000
3.33 | 3 ratings
Moonlight Whispers
2001
4.00 | 1 ratings
Inner Urge
2001
5.00 | 1 ratings
Cedars Of Avalon
2002
4.00 | 5 ratings
Tricycles
2003
3.25 | 3 ratings
Larry Coryell, Victor Bailey & Lenny White: Electric
2005
4.00 | 4 ratings
Larry Coryell, Victor Bailey & Lenny White: Traffic
2006
5.00 | 1 ratings
The Lift
2013
5.00 | 1 ratings
Heavy Feel
2015
5.00 | 1 ratings
Barefoot Man: Sanpaku
2016

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

4.11 | 9 ratings
At The Village Gate
1971
4.17 | 5 ratings
Fairyland (Montreux Festival, 71)
1971
4.00 | 4 ratings
Two For The Road ( with Steve Khan )
1976
3.96 | 9 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
4.00 | 1 ratings
Earthquake At The Avalon
2009

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)

3.69 | 7 ratings
The Essential Larry Coryell
1975
4.00 | 1 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
 Offering by CORYELL, LARRY album cover Studio Album, 1972
4.02 | 9 ratings

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Offering
Larry Coryell Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars I feel that the best album Larry released was "Barefoot Boy" and this particular album "Offering" was released the following year in 1972. Not nearly as good in my opinion but the joy for me with this recording is just listening to the impressive instrumental work. A five piece band of electric piano, guitar, drums, bass and soprano sax and I admit I'm not the biggest fan of soprano sax but this album certainly deserves the 4 stars I'm giving it. I found it interesting as well that Larry used two songs from Jazz keyboardist Doug Davis. Larry and the drummer composed the rest.

"Foreplay" opens with some distortion as a beat and keys kick in followed by sax. An uptempo Fusion track with the soprano sax playing over top until the guitar takes over around 3 minutes. It settles back around 6 minutes although it's still uptempo. The sax is back before 8 minutes to end it. "Ruminations" is led by sax and drums early but electric piano and bass help out here as well. Some nice drum work just before a minute as it turns quite jazzy, especially the piano and bass. The guitar arrives ripping it up as it trades off with the sax until they both light it up.

"Scotland I" opens with different sounds coming and going until around 1 1/2 minutes when outbursts start to come and go. An impressive instrumental display. It calms right down late. "Offering" has intricate drumming and guitar with electric piano and bass. I like this a lot. Coryell starts to light it up after a minute then it's the sax turn after 3 minutes. A great track.

"The Meditation Of November 8th" is the one track I can't get into. It's very relaxed with smooth sax, picked guitar and bass to start. It does pick up some before 2 minutes but I'm not into this one. "Beggar's Chant" features the sax playing over the electric piano, bass and drums. The guitar joins in as it builds. Check out the fuzz-wah electric piano! The guitar starts to solo after 4 minutes.

One Of Larry's better albums for sure, at least in his top five counting his work with ELEVENTH HOUSE.

 The Eleventh House: Level One by CORYELL, LARRY album cover Studio Album, 1975
4.15 | 28 ratings

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The Eleventh House: Level One
Larry Coryell Jazz Rock/Fusion

Review by WFV

5 stars Frankly I think this is a top five classic jazzrock album of all time and the zenith of the golden age of fusion in the marketplace. The band is flat out awesome and this is a smooth wave from beginning to end, like a surfer on the longest most serene ride of their life. Larry Coryell is the most prime example of a jazz based musician that took most of his chops from rock musicians and applied them in a manner that allowed him to stand out from his competition. None of the songs really stand out from the rest and this set begs to be digested as a whole. Sometimes I feel the running time is a bit short but that is a mild complaint.
 The Eleventh House: Introducing The Eleventh House With Larry Coryell by CORYELL, LARRY album cover Studio Album, 1974
4.03 | 44 ratings

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The Eleventh House: Introducing The Eleventh House With Larry Coryell
Larry Coryell Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars Another solid Jazz/Fusion album from Larry Coryell. Not as good as the previously released "Barefoot Boy" but comparible to the next one with THE ELEVENTH HOUSE called "Level One". A five piece here with Alphonse Mouzon on drums, Randy Brecker on trumpet and of course Coryell on guitar plus a bass player and keyboardist playing electric piano and synths. This was released in 1974 and the compositions were written by Coryell, Mandell and Mouzon plus the song "Yin" by Wolfgang Dauner.

"Birdfingers" is a tune where each member gets to share the spotlight and strut their stuff I guess you could say. After a brief drum solo the keys and guitar trade off then the trumpet starts to come and go trading off with the guitar. Soon electric piano, guitar and trumpet are trading off.

"The Funky Waltz" is a top three for me. Just a trippy sound here with the drums and bass as trumpet and electric piano help out in this relaxed song. Guitar to the fore around 1 1/2 minutes and it sounds really good after 2 minutes. Electric piano leads at 3 1/2 minutes as the guitar steps aside then drums lead a minute later. I like this one a lot.

"Low-Lee-Tah" is my favourite. Just love the opening with that guitar and bass, so laid back and atmospheric. Drums and trumpet join in just before a minute. So good. Trumpet comes to the fore before 2 minutes then it's the guitar's turn around 2 1/2 minutes. Nice. More trumpet follows but it's more laid back this time.

"Adam Smasher" has trumpet blasts over the drums, bass and e-piano then the piano leads as the drums and bass support. The trumpet is back again around 1 1/2 minutes then the guitar a minute later. "Joyride" is laid back with keys, bass and a beat often leading the way. It's brighter when the electric piano comes in before 2 minutes, the guitar follows. it calms down again before a big finish.

"Yin" opens with drums and bass that impress with the trumpet over top, electric piano too. The guitar arrives just before 2 minutes. Synths start to lead before 3 1/2 minutes. These guys are ripping it up here. "Theme For A Dream" does have a dreamy sound with trumpet leading in a reserved way with outbursts of drums. Raining piano comes and goes as well.

"Gratitiude "A So Low"" is acoustic guitar melodies throughout. "Ism-Ejereicio" is my other top three. It opens fairly powerfully before settling in with drums and guitar. Great sound here. It settles into more of a slow groove after that around 1 1/2 minutes in with some adventerous trumpet over top trading off with the guitar. Nice. The tempo picks up before 3 1/2 minutes as it gets really impressive. "Right On Y'All" ends it opening with drums then the trumpet leads as the piano pulses before an extended synth led section. An energetic track with the guitar leading late.

Another excellent release from Coryell and company and a must listen for Jazz/Fusion fans.

 Barefoot Boy by CORYELL, LARRY album cover Studio Album, 1971
4.54 | 21 ratings

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Barefoot Boy
Larry Coryell Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

5 stars This is my favourite Larry Coryell album. It reminds me a lot of what Miles was doing at this time in 1971 with all that percussion but we get sax instead of trumpet. We get three long tracks over the 40 plus minutes. A five piece with a percussionist, drummer and congas player while Larry offers up some amazing guitar work and we get both soprano and tenor sax. We also get two guests adding piano and bass. The other albums Larry plays on that I really like are ET CETERA's "Knirsch" recording along with the first two Eleventh House recordings. He has such a big discography but those early to mid seventies records that he's on are my favourites. I should also mention the two albums he did with Steve Smith in the late nineties.

"Gypsy Queen" is actually a cover of a Gabor Szabo song that was originally five minutes long but Larry increases it here to almost 12 minutes. I haven't heard the original by this influential Hungarian Jazz guitarist. It opens with percussions and drums as the soprano sax comes in over top. Man I'm so into this type of music. That sax is incredible and adventerous as well. Is that guitar before 5 minutes! Oh my! Soon Coryell is ripping it up a minute later after those experimental guitar expressions. The sax is back a minute later having stepped aside for the guitar and here he is lighting it up big time, complete chaos. Drums and percussions only 10 1/2 minutes in but the guitar returns to end it. What a song!

"The Great Escape" opens with honking soprano sax and a catchy beat with bass. Hard not to bop around to this one. The guitar replaces the sax before a minute. The sax is back after 3 1/2 minutes as the guitar continues but it takes a back seat. The guitar is back to the forefront at 7 minutes as the sax steps aside to the end.

"Call To The Higher Consciousness" is the side long 20 minute closer. I like that we get some electric piano on this one. Quite the dramatic opening with guitar, sax and fast paced piano melodies. It settles in at 1/2 minutes and this reminds me of NUCLEUS. It's so uplifting for me hearing the electric piano, drums and tenor sax. The sax will start to become the focus playing over top. The guitar is back before 5 minutes but the sax still dominates here until stepping aside around 5 1/2 minutes as the guitar becomes the focus. The piano is back after 7 1/2 minutes as the guitar steps aside. It all stops before 10 minutes as we get that drum solo lasting until before 14 minutes when the guitar and sax return. This sounds like the intro and it also will settle into a groove after 15 minutes like before as themes are repeated. An amazing tune!

Without question one of my favourite albums from 1971 and that's saying something.

 The Eleventh House: Aspects by CORYELL, LARRY album cover Studio Album, 1976
3.43 | 13 ratings

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The Eleventh House: Aspects
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.

 Larry Coryell & Emily Remler: Together by CORYELL, LARRY album cover Studio Album, 1985
4.91 | 2 ratings

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

Review by Vibrationbaby

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?

 The Eleventh House: Level One by CORYELL, LARRY album cover Studio Album, 1975
4.15 | 28 ratings

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The Eleventh House: Level One
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.

 Spaces by CORYELL, LARRY album cover Studio Album, 1970
3.86 | 40 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.

 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+.

 The Eleventh House: Introducing The Eleventh House With Larry Coryell by CORYELL, LARRY album cover Studio Album, 1974
4.03 | 44 ratings

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The Eleventh House: 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!

Thanks to Sean Trane for the artist addition.

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