DIFFERENCE

Hey, I don't believe it, finally I found again one of the most interesting albums of Larry.

I had that album a long time ago but I can't have it anymore(is there's someone who know how to get it? if yes, very big thank you to you). This album made me flying in the sky. Not kidding. Tony Williams is so great on Picean Moon and on Octaves ; his hi-hat on picean is like a shadow moving around the basic pulsation, the snare's shots aren't on the expected times, Michael Brecker is...divine. Octaves desserved more than this; it's like the Montagnes russes.

Come on, people. Are you sleeping or what? I just can't understand how such a music like this passed incognito. Unbelievable. Where are you, people? Are you blind or what? Maybe it would be a good idea checking your antennae...Try to retrieve this reference, and check Amazon or another one for the availability of this album, you won't regret it, I can assure you. You have to have this.

Kedede de thysmerious

3.5 stars really!!!

Yet another outstanding Coryell album, and one of the most unashamed jazz-rock guitar albums, yet all to short IMHO in its duration. The usual guests are around, Tony Williams, Steve Khan, the Brecker brothers, etc. Although the album was recorded in 75, it didn't see the light of day until 78; indeed it is an assemblage of Electric Lady studio (the Hendrix facilities) recordings and the Montreux festival of the same year. The only things that would make this album a bit different is the label that issued it (Egg) and the unrelated sea photo artwork, as the rest makes it a typical Coryell album.

The opening Octaves is an excellent instrumental (the whole album is) where Brecker and Sanborn make remarkable sax interventions. Memphis Underground could easily sound as if it escaped an Eleventh House album, but the line-up is nowhere near the group's. Picean Moon is a rather chilling piece of jazz, sometimes nearing the dissonant.

As usual, there are acoustic guitar tracks, with the aptly titled Acoustic Solo (maybe a little lengthy, but we won't complain given the overall album duration), the short but nervous Improvisation (that's its name) and the duo flamenco-influenced Serabound, where Khan gets in act, but the track is unfocused. The closing Aquarian Mode is a rather cold and limit-dissonant piece where LC's guitar is a bit overpowering.

Again I wouldn't call Difference anywhere close to essential, but it has its merits if you are a Coryell fan. But in the frame of this site, this album is expandable despite its share of interesting moments.

A mixed bag and many lineups contribute to the album. The majority of tracks are acoustic pieces. The first track "Octaves" is a nice fusion track with acoustic and electric guitar, drums and saxophone flowing all over. "Acoustic solo" brings clarity and quietness even though the acoustic guitar is very competent and varied. "Memphis underground" is a faceless cover, should have been shorter. "Improvisation" shows the mastery by Coryell playing unaccompanied on his acoustic instrument. Another track worth mentioning is "Aquarian Mode" which is a very loose, free piece of jazz. Not worth as a whole album but contains satisfying tracks and more good than a throwaway stuff.