Victor Wooten - 1999 "Yin Yang"

Yin-Yang is the third album released by Victor Wooten.
The track "Pretty Little Lady" has a vocal line that was recorded backwards and then played in reverse, so that it appears to sound normal. This is an example of phonetic reversal.
There is video of the recording of "Zenergy" and "Resolution" found on Victor Wooten and Carter Beauford "Making Music".

There's little question that Victor Wooten is an ambitious musician. That was evident from his first two records, but Yin-Yang easily reaches farther than any album he has yet made. Spanning two discs, one instrumental and one vocal, Yin-Yang tries a little bit of everything, all underneath a smooth fusion umbrella. There's a bass showcases, worldbeat fusions, bluegrass jazz, smooth soulful jazz with banjos, full-fledged urban soul, songs based around baby gibberish -- a little bit of everything, all given immaculate, glossy production. That clean production not only makes the record sound accessible, but it makes the eclecticism and unpredictable stylistic fusions sound familiar. Depending on your point of view, that's either a good or a bad thing -- it either means Wooten is welcoming more listeners, or it means that it's not challenging. And that's the strange thing about Yin-Yang -- it's not particularly challenging, yet it is complex and difficult to digest in one sitting. That's largely because there's so much music on the record, but it's also because Wooten's ideas sound better when heard a few cuts at a time. He's a very talented musician and has some great ideas, but a little discipline and editing would make his records more convincing and compelling. 

Admittedly, what Victor Wooten can do goes well beyond conventional limits of the bass. In fact, in some cases, it has nothing to do with the bass at all. In his eagerness to “sing” melodies on his 4-string electric bass, the extraordinary bassman from Bela Fleck & The Flecktones becomes a saxophonist, a pianist, a guitarist. Stanley Clarke, Alphonso Johnson and Jaco Pastorius pioneered this territory and John Patitucci took it a step further by developing uncannily fluid chops on the 6-string electric bass.

Wooten is a chops monster himself and he certainly gets to strut his stuff on this two-CD set (one instrumental, one vocal). But while he can play the hell out of the bass (check the sheer burn on “Hip Bop” and the ultra-funky “What Crime Is It?” featuring special guest vocalist Bootsy Collins) he seems to have a bigger agenda that transcends his instrument. Wooten is in love with melodies, and it shows. He gushes shamelessly on smooth numbers like “Urban Turban,” “Resolution” and “Joe’s Journey,” a paean to a fallen friend. He revisits Flecktones country on “Zenergy,” featuring a guest spot by Bela on banjo, and ‘sings’ lyrically on “Sacred Place.”

The natural progression of Wooten’s vocal approach to the bass is to actually sing himself, which he does in convincing fashion on the pop-flavored second CD, revealing a particular fondness for Roger Troutman & Zapp (“Hormones in the Headphones”), Prince (“Yinin’ & Yangin’,” “Singing My Song”) and Morris Day & The Time (“Pretty Little Lady”).

One clever track is “Kaila Speaks,” in which Wooten records the musical warblings of his 13-month-old daughter, then transcribes the natural pitches of her rap and scores music behind it. It’s a neat trick, one that guitarist Steve Vai also pulled off with his infant son on a tune he called “Goo-Goo-Gak.” But Wooten’s tender rendition is especially poignant. Kaila reprises her star turn as a seasoned 16-month-old on “Kaila Raps.”

Victor is reunited on this project with his talented brothers Regi on guitar, Joseph on keyboards and Rudy on sax, who along with drummer brother Roy (a.k.a. Future Man) made up the pre-Flecktones band, The Wootens. They all contribute mightily on this homecoming that traverses world music, funk, smooth jazz, bebop, pop, bluegrass and beyond.

Jazz bassist Victor Wooten has become a living legend in the modern jazz scene. As a member of Bela Fleck and the Flecktones, he has been astounding audiences for years. As a solo artist he makes records that are deeply musical and technically breathtaking. His latest effort, Wooten's latest release, Yin Yang is a 2-CD set: Yin is devoted to instrumental tracks and Yang is devoted to vocal-oriented tracks. Featuring special guest artists Bela Fleck, Bootsy Collins, Peter Rowan, Carter Beau ford, Stuart Duncan, Jeff Coffin, Rod McGaha, Jonell Mosser, JD Blair, Kirk Whalum and the Wooten Brothers. 

Victor Wooten is one of those rare electric bass technocrats who learned all the right lessons from Jaco Pastorius. While sounding not at all like him, Wooten exhibits the same ability to retain the groove and a warm midrange tone while demonstrating considerable prowess. On this ambitious two-CD project, Wooten runs the gamut from "wave" type instrumentals like "Imagine This," where overdubbed basses function as both foundation and melody instruments, to sampled spoken-word pieces. Yin-Yang is definitely a family affair, including three other Wootens--Joseph (keys), Regi (guitar), and Rudy (sax)--as well as extended family members like Victor's fellow Flecktone Béla Fleck and Dave Matthews Band drummer Carter Beauford. Even with all these guests, one would've preferred perhaps a more tightly edited single CD that featured more of Wooten's instrumental individuality (on the order of "Singing My Song" with its stripped-down bass, drum, and vocal approach, or "Tali Lama" with its bluegrass tinges courtesy of Peter Rowan, and less generic "happy jazz" like "The Urban Turban"). Nevertheless, Yin-Yang should be required listening for any player or fan of electric bass.

Track listing
Disc one - instrumental

    "Imagine This" (V. Wooten) – 5:08
    "Yinin' & Yangin'" instrumental (V. Wooten) – 4:36
    "Hip Bop" (V. Wooten) – 4:03
    "Joe's Journey" (V. Wooten) – 5:20
    "The Urban Turban" (V. Wooten) – 2:42
    "Tali Lama" (V. Wooten) – 5:17
    "Zenergy" (Béla Fleck, Carter Beauford, V. Wooten) – 6:46
    "Kaila Speaks" (Future Man, V. Wooten) – 3:00
    "Sacred Place" (V. Wooten) – 3:46
    "Resolution" (Carter Beauford, V. Wooten) – 4:57

Disc two - instrumental and vocal

    "Hormones in the Headphones" (Michael Kott) – 4:06
    "Yinin' & Yangin'" vocal version (J.D. Blair, Dwight Farrell, Jonathan Morse, V. Wooten) – 4:12
    "Kaila Raps" (V. Wooten) - 4:42
    "One" (V. Wooten) – 4:54
    "What Crime Is It?" (J.D. Blair, Bootsy Collins, William Collins II, V. Wooten) – 4:55
    "Go Girl Go" (Michael Kott) – 3:18
    "Pretty Little Lady" (V. Wooten) – 3:34
    "Hero" (Future Man) – 4:42
    "Singing My Song" (V. Wooten) – 4:43
    "Think About That" (V. Wooten) – 4:09

Personnel

    Victor Wooten - bass guitar, cello, programming, background vocals, acoustic bass, electric upright bass
    Steve Bailey - bass
    Carter Beauford - drums
    J.D. Blair - drums, vocals, drum programming
    David Blazer - cello
    Kathy Chiavola - vocals
    Jeff Coffin - tenor saxophone
    Bootsy Collins - vocals
    Billy Contreras - violin
    Count Bass D - rap
    Stuart Duncan - fiddle
    Tabitha Fair - vocals
    Béla Fleck - banjo
    Joseph Wooten - organ, piano, keyboards, theremin, background vocals
    Aseem Hetep - vocals
    Michael Kott - cello, background vocals
    Park Law - vocals
    Rod McGaha - trumpet
    Jonathan Morse - background vocals
    Jonell Mosser - vocals
    Jim Roberts - djembe, shaker
    Peter Rowan - vocals
    Buddy Spicher - violin, viola
    Kurt Storey - violin
    Allyson Taylor - vocals
    Kirk Whalum - soprano saxophone, tenor saxophone
    Roger "Rock" Williams - soprano saxophone
    Dorothy G. Wooten - vocals
    Holly Wooten - background vocals
    Kaila Wooten - vocals
    Regi Wooten - acoustic guitar, guitar, wah-wah guitar
    Rudy Wooten - saxophone

Larry Coryell - 1997 "Spaces Revisited"

This album brings together Larry Coryell and legendary drummer Billy Cobham from the original Spaces album, together with bassist Richard Bona and guitarist Bireli LaGrene for another innovative, inspired blowing session of a unique brand of fusion jazz.

 What started as a project to reunite Coryell with Billy Cobham on drums in order to take a second look at the sound and style of the Coryell's Spaces ended up creating a whole new chapter instead. With Richard Bona on bass and Bireli Lagrene on guitar, these nine songs capture the spirit of that 30-year-old session with new, adventuresome playing and vigor. Coryell takes great pride in the spontaneity of this project -- one day rehearsal, two days recording -- and well he should, since it contains musicians interacting with each other in a loose yet totally on-top-of-their-game manner. Bireli shines on the 9/8 section "Variations on Goodbye Pork Pie Hat," while Bona solos beautifully on "Blues for Django and Stephane." Yet it's ultimately Coryell's and Cobham's show, and their playing throughout is sublime with the on-the-spot recording of "Hong Kong Breeze" -- an off the cuff head arrangement done in one take -- showcasing their two players/one mind interplay. Maybe you can't go home again, but this album clearly proves you can always take your luggage with you and build a whole new house.

 Tracks Listing

1. The Dragon Gate (6:30)
2. Hong Kong Breeze (8:25)
3. Spaces Revisited (7:05)
4. Variations On Good-Bye Pork Pie Hat (8:03)
5. Blues For Django And Stephane (5:24)
6. Morning Of The Carnival (7:31)
7. Oleo (5:04)
8. Introduction To 'Ruby' (1:33)
9. Ruby My Dear (4:24)

Total time 53:59

Line-up / Musicians

- Larry Coryell / acoustic & electric guitars, producer
- Biréli Lagrène / guitars
- Richard Bona / bass
- Billy Cobham / drums

Bireli Lagrene appears courtesy of Dreyfus Jazz, France.
Larry Coryell plays Cort LCS-1 Electric and SJ-5 Acoustic guitars.
Billy Cobham plays Mapex drums.
Bireli solos first (1 to 3,6,7,9), Larry solos first (4,5), Larry plays melody (9)

Chick Corea & Gary Burton - 2008 "The New Crystal Silence"

The New Crystal Silence is a 2008 live Jazz album by Chick Corea and Gary Burton. It was released in a 2-disc set. The first disc was recorded May 10 & 12, 2007 at the Sydney Opera House Concert Hall. The second disc was recorded on July 7, 2007 at Bjornsonhuset in Molde, Norway, except for the track "Señor Mouse", which was recorded July 13, 2007 at the Auditorio de Tenerife in Canary Island, Spain.

The album peaked number eleven in the Billboard Top Jazz album charts and also won the Grammy awards for the Best Jazz Instrumental Album, Individual or Group.

When Crystal Silence first appeared in 1972 on the ECM label, its cover photograph depicted a stellar shot of the sun, which appeared to be setting. That duet album featured two already-seasoned jazz veterans who were in their thirties, and had been part of many of the developments in the music for a decade. Corea's credits included Miles Davis, his own Return to Forever, the "Is" sessions, Circle, and many others; Burton's included tenures with George Shearing and Stan Getz as well as Larry Coryell. But the duet album they recorded for ECM was so utterly striking and arresting because it highlighted not only an entirely new way of playing duets between piano and vibes -- which had been done previously and well by others -- but a new way of hearing them as well.
After 35 years, five duet records, and countless tours together, the pair revisit the notion of the duet in two different contexts on this delightful, compelling double-disc package from Concord. The first disc finds the pair playing live in Sydney with that city's symphony orchestra conducted by Jonathan Stockhammer and arranged by Tim Garland. The program includes five tunes, all of them composed by Corea. While it is disconcerting on first thought as to how an orchestra could add to the special intuitive communication this duo has developed since its first accidental performance at a festival in 1971, those fears disappear quickly after the orchestra's intro, when Corea's piano makes its entrance and Burton responds. It's striking there was so little rehearsal time, and that Garland's arrangements are so spot-on and attuned to the intricacy of what happens harmonically between these two. "Duende" opens the set with an enormous introductory sweep that feels more like a crescendo, but it gives way within two minutes to the exploration of extrapolated minors when Corea plays a single note that initiates his speaking voice on the piano. Burton answers and moves them into another direction, painting from the inside and pulling on certain notes as he quotes a melody that feels strangely like "The Shadow of Your Smile." Then the pair are off, the orchestra brooding and shimmering behind them, opening up spaces where there would be tension in such a focused space of minor keys that sweep this way and that way, and then they engage fully with the orchestra. This continues through "Love Castle" and the speculative intro to "Brasilia," which feels like a question. The rhythmic interplay is built layer upon layer, however sparely by the harmonic striations of vibes and piano as strings hover and cautiously seem to follow into a much more romantic and exotic flight of fancy. Of course, the title track, while seemingly an entirely new piece when played with this symphony, is no less limpid than its predecessor. The compositional notion is simply eased into more tentatively, but the interpolations between Burton and Corea are even cannier than one might expect. Everything begins in shade and shadow and is revealed in the full light of day. The set ends with a driving rendition of "La Fiesta," begun with an intensely intricate series of counterpoint exchanges between the pair.
Disc two contains a live performance from the Molde Festival in Norway, with one cut, "Señor Mouse" (also from the Crystal Silence debut), recorded in the Canary Islands. Far more breezy but perhaps more taut and far less tentative, the set starts off with Corea's "Bud Powell," and Burton shines with his solo, moving through the lyric phrases as Corea punches in spaces with tough, jaunty chord masses. It swings like crazy before giving way to a stellar reading of Bill Evans' "Waltz for Debby." The melody, instantly recognizable in Corea's hands, is nonetheless a bit heavier in touch, but that's what makes it sound new as well. The solo he opens with carries the basic lyric frame in his two-handed chords and runs before Burton slides the melody in solo, as expressive and intimate as one could ever hope for before it opens wide and sings. This happens on the other standards here as well, the deeply emotive reading of "I Loves You, Porgy," with Burton's solo as tender as a singer emoting the words, and "Sweet and Lovely," where the pair just dig in and let the tune guide them on a wonderfully engaging, swinging ride through its harmonic possibilities. The other four Corea tunes here include a very different version of "La Fiesta" as a set closer; "No Mystery," which is more mysterious in some ways because of its use of arpeggios, space, and counterpoint; and the all-too-brief rhythmic invention of "Alegria." The bottom line, of course, is that this set, as different as its two mirroring discs are, is nearly magical in both its intensity and creativity, and in its wonderfully relaxed manner of walking through the deep passageways of improvisation. Anyone who is a fan of the duet recordings between these two should own this. Anyone not familiar should check out the ECM disc first, and then move straight here, filling in the gaps later. They are wonderful counterparts to one another and immensely satisfying listens.

The circumstances that led to pianist Chick Corea and vibraphonist Gary Burton collaborating on Crystal Silence (ECM, 1973) are the definition of serendipitous happenstance. Neither thought the record would have wide appeal, yet it's gone on to become not only a classic for the label, but for both artists, who have since built large discographies with plenty of individual milestones. Recording infrequently as a duo, they've played together every year since that first meeting, with some significant globe-trotting in 2007 to commemorate their thirty-fifth anniversary together. The double-disc The New Crystal Silence documents that celebration with performances culled from dates in Australia, Norway and the Canary Islands.

The duo revisits material from Crystal Silence through to their most recent and fifth recording, Native Sense (Stretch, 1997), in addition to a new Corea tune and three standards. The second disc, from the Norway and Canary Island shows, finds the duet on their own and in top form. Anyone who caught a 2007 show knows—as their Portland Jazz Festival performance amply demonstrated—that amidst the stunning virtuosity, empathic interaction and subtle nuances is an almost mischievous playfulness. Some of this may be serious music, but Corea and Burton are clearly having fun.

The "new" comes with the first disc, where Corea and Burton have a silent third partner in British woodwind multi-instrumentalist/composer/bandleader Tim Garland. Garland doesn't perform, but was recruited by Corea to arrange five tunes from the duo's repertoire for the pianist, Burton and symphony orchestra—in this case, the Australian Sydney Symphony. This isn't the first time Garland has scored Corea material for orchestra—his "Fantasy on Crystal Silence" was a highlight of his own The Mystery (Audio-B, 2007), and also featured Corea as a guest. Here, his orchestration of "Crystal Silence" is more reverential, although there are moments of unexpected power during a tune that has always been more of a tranquil tone poem.

It's to Garland's credit that he finds the perfect blend of orchestration and improvisation. While there are open-ended sections that allow Burton and Corea to go where they will, Garland has turned Corea's compositions into miniature concertos, where the symphony weaves in and around solo and duet sections. Just how different the approach can be is clear with the two versions of Corea's Spanish-tinged "La Fiesta" included—a more form-based version with the orchestra on disc one and a looser, more fully extemporaneous duet version on disc two.

That Corea and Burton are in-tandem improvisers capable of taking great risks while consistently delivering near-perfect performances is what made their first recording a classic. It's hard to live up to Crystal Silence's iconic stature. Still, The New Crystal Silence proves that, as with any committed relationship, these two are never at a loss for fresh and relevant dialogue. The addition of Garland's orchestral arrangements only provides an even more expansive context around which Corea and Burton can continue to build and strengthen a pairing that's destined to last a lifetime.

When they teamed up in 1972 to play in a piano-vibraphone setting, little did Chick Corea and Gary Burton realize that 35 years later their duo would continue to expand its modern chamber music approach to jazz with full introspection and exhilaration. Even though their serendipitous debut, Crystal Silence, was released on Germany-based ECM Records, which at the time did not have a distribution deal in the U.S., the album not only forged the alchemic partnership, but also brought to renown the deep and insightful collaboration of the two virtuosic improvisers. After their premiere outing, they recorded four more albums and have never skipped a year performing together.
In celebration of the Corea-Burton duo’s 35th anniversary, they released The New Crystal Silence, a double CD featuring the pair performing with the Sydney Symphony and as a duet captured in a sublime performance at the Molde Jazz Festival in Molde, Norway. The orchestral concert bears the fruit of an invitation from two symphonies in Australia, in Perth and Sydney, which offered the twosome the opportunity to perform and record their repertoire in an orchestral setting. As for the duo disc, Corea and Burton marked their long relationship onstage of anticipating each other’s musical ideas by embarking on a worldwide tour and then chose one of their best performances to document.
Writing in The New Crystal Silence liner notes, Burton reflects:

I’ve always held the theory that all musical collaborations, particularly among jazz musicians, eventually run their course as players evolve and everyone moves on to new ventures. But, I’ve come to believe that what Chick and I have together is going to break that rule. The performing we have done over the past year has been our best in 35 years, and we are very pleased to make it available on these CDs.” He adds, “We both feel that our music has evolved in the last 10 years more than it did before. We play the tunes very differently, with fresh concepts and new inspiration.Gary Burton

Corea agrees:

The way we were approaching the music during our 35th anniversary concert tour was so different that I thought it warranted documentation. Gary’s playing continues to amaze and inspire me. The tours we’ve done over this past year are my favorites of all that we’ve done. There’s more to come, but here is a slice of what we’re into these days.Chick Corea.

 Track listing

Disc one

    "Duende" (Corea) – 10:54
    "Love Castle" (Corea) – 12:41
    "Brasilia" (Corea) – 9:38
    "Crystal Silence" (Corea) – 14:09
    "La Fiesta" (Corea) – 13:35

Disc two

    "Bud Powell" (Corea) – 7:55
    "Waltz for Debby" (Bill Evans) – 8:03
    "Alegria" (Corea) – 5:49
    "No Mystery" (Corea) – 9:12
    "Señor Mouse" (Corea) – 9:10
    "Sweet and Lovely" (Gus Arnheim, Charles Daniels, Harry Tobias) – 6:56
    "I Love Porgy" (George Gershwin, Ira Gershwin & DuBose Heyward) – 4:09
    "La Fiesta" (Corea) – 10:41

Personnel

    Chick Corea – piano
    Gary Burton – vibraphone
    Sydney Symphony Orchestra
    Jonathan Stockhammer – conductor

Larry Coryell - 1993 "Fallen Angel"

On Fallen Angel, Larry Coryell teams up with arranger Don Sebesky to produce a wide-ranging album full of sampled sounds and programmed tracks in an attempt to mix the old CTI sound of the '70s with the production techniques and rhythms of the '90s. "Inner City Blues" kicks things off with great promise, as Coryell jams over a pre-programmed rhythm track with background vocalists. On "(Angel on Sunset) Bumpin' on Sunset," he improvises along with a sampled Wes Montgomery, then turns Erroll Garner's classic "Misty" into a mid-tempo reggae jaunt through which he and pianist Mulgrew Miller travel lightly. The CTI connection is brought to the forefront with a remake of Deodato's "2001" hit called "Thus Spoke Z," on which the famous theme is implied but never stated. Other highlights include a funky, angular tribute called "Monk's Corner," Sebesky's attractive "I Remember Bill" and the solo "Westerly Wind." There are also two pleasant smooth jazz vocal pieces at the front of the album, the beautiful ballad, "Fallen," a duet between vocalists Klyde Jones and Jeanie Bryson, and the funky made-for-radio "Never Never," featuring saxophonist Richard Elliot and a vocal from Ms. Jones.

Fallen Angel was obviously an attempt to find Larry Coryell a place on the smooth jazz playlist, a task it didn't really accomplish. While it is not likely to appease those who bemoan the guitarist's failure to live up to his initial promise, it can be enjoyed if taken on its own terms.

Tracks Listing

1. Inner City Blues (3:31)
2. Fallen (3:45)
3. Never Never (3:34)
4. Angel On Sunset (5:40)
5. Stardust (5:55)
6. Misty (4:32)
7. I Remember Bill (3:07)
8. Pieta (5:53)
9. Thus Spoke Z (4:49)
10. Stella By Starlight (4:31)
11. Monk's Corner (6:26)
12. Westerly Wind (2:04)
13. The Moors (2:53)

Total time 56:40

Line-up / Musicians

- Larry Coryell / electric guitar

With:
- Jeanie Bryson / vocals (2)
- Klyde Jones / vocals (1-3)
- Wes Montgomery / guitar (4)
- Mulgrew Miller / piano (5,6,9)
- Ted Rosenthal / piano (8,11)
- Jamie Laurence / synth programming
- Don Sebesky / synth (?), musical director, arrangements
- Richard Elliot / tenor saxophone (2,3)
- Chris Hunter / alto saxophone (9)

Chick Corea & Gary Burton - 1973 "Crystal Silence"

Crystal Silence is an album by Chick Corea and Gary Burton. It was recorded in November 1972 and produced by Manfred Eicher for ECM Records. Their collaboration went further in 1979 with the albums Duet and In Concert, Zürich, October 28, 1979, also on ECM Records. Nearly 30 years later they followed up again with The New Crystal Silence in 2008, this time on Concord Records.

For Crystal Silence, the first of several partnerships between Chick Corea and vibraphonist Gary Burton in the 1970s, the two musicians selected an interesting array of material. The compositions on this record are all modern ones, either by Steve Swallow, Mike Gibbs, or Corea himself. It is a mostly downtempo affair, which allows each player to stretch out and play highly melodic solos over the often difficult changes. In keeping with most ECM releases, there is a distinct presence of European elements to the improvisations. There are few overt blues or bebop phrases, Corea and Burton opting instead for modern melodies to fuel their improvisations. Burton has managed to internalize the Spanish and modal implications of Corea's tunes with little difficulty, and solos with joyful ease through such tracks as "Señor Mouse." Corea himself is absolutely burning. His solo contribution on the same track is both fiery and introspective, combining in one statement the poles for which he is best-known. The title track is also the centerpiece of the album, a nine-minute exploration of the Corea ballad that first appeared on his Return to Forever record in 1972. In keeping with the tradition of the great masters of the ballad form, time seems to disappear as Burton and Corea lovingly caress the song's simple melody and dance effortlessly around the chords, building intensity only to let it subside once more. Crystal Silence is a sublime indication of what two master improvisers can do given quality raw material, with the first side of this record being particularly flawless. Improvised music is rarely this coherent and melodic. Essential for fans of Corea, Burton, or jazz in general.

This is the original killer collaboration between Chick Corea on grand piano and Gary Burton on vibraphone. Chillout music before it was called chillout. Make no mistake though, it's not limp, tame smooth jazz aka muzak. They play a couple of tunes from Chick's originals done by Return To Forever lineup, a couple of Gary's, some co-written, and some written by Chick with then prominent bassist Steve Swallow.

This is an essential album for any serious jazz collection.

While I have had several albums by Chick Corea for over 30 years starting with "Return to Forever", I never heard about this album until Pat Metheny mentioned it in an interview. Remarkably this album was issued the same year as "Return to Forever" (1972) which may be why it never made it to the surface for many of us.

This is a transcendent piece of music. There are many levels of melody created by enormous virtuosity of two musicians feeding off each other in an amazing interplay. The sound is excellent and the recording has plainly been remastered by someone who really knew that they were doing. Played in a dark room with good headphones it takes you places that you want to return to regularly. How I missed it all of these years I don't know but thank you Pat Metheny.

You can't do better in the new age world than 500 Miles High and the title piece. Chick can play Mozart with aplomb, and the techniques of improv on the 25th piano concerto are echoes here in post-classical harmonies and an occasional 12-tone scale. The album is a classic of its genre.

I could never say enough about this CD. When it first came out, it was never off my turntable. The songs are great... top notch Chick Corea originals. And as far as I know there has never been a piano/vibes duo that played so well together. Sometimes it almost feels like it's one instrument. Corea and Burton are just the best in the business. This might very well be in my all time greatest jazz albums list. Buy it!

I was very much surprised, to say the least, when I discovered, that this work-of-art was available, through Amamzon, and I decided, that I had to have it. I first this on vinyl, close to 31 years ago. I was already facinated, the sounds of Chick Corea, and coupled with the expertise "Vibe virtuoso," Gary Burton, I was completely sold. If you enjoy listening to the sounds of jazz/fusion music, then this CD, should be in your collection! Thank you Chick & Gary!

I was fortunate enough, many years ago to be in NYC during the Jazz festival time. We had tickets one night to a show featuring the Woody Herman Big Band, then Chick Corea with the MusicMagic line-up. Anyway, there was an hour delay in setting up Chick after Woody that had an unbelievable resolution. Gary Burton was there, and he & Chick played basically the entire Crystal Silence album on stage while they set-up Chick Corea's band.

This is an unbeleivable album, probably one of my top five all time albums of any genre. It's also an amazing album for any aspiring drumkit player to practice with.

Track listing

    "Señor Mouse" (Chick Corea) - 6:20
    "Arise, Her Eyes" (Steve Swallow) - 5:08
    "I'm Your Pal" (Steve Swallow) - 4:02
    "Desert Air" (Chick Corea) - 6:26
    "Crystal Silence" (Chick Corea) - 9:05
    "Falling Grace" (Steve Swallow) - 2:42
    "Feelings And Things" (Mike Gibbs) - 4:46
    "Children's Song" (Chick Corea) - 2:11
    "What Game Shall We Play Today" (Chick Corea) - 3:46

Personnel

    Chick Corea – piano
    Gary Burton – vibraphone      

Larry Coryell - 1993 "Bolero"

This is one of the most spectacular collections of high-quality, virtuoso acoustic guitar playing ever released. With Larry Coryell, the soul of the music NEVER gets lost in the technique and there is no better demonstration of Coryell at his best than this record. Coryell's musicianship, at this point in his career, was at an extremely high level and some of these tunes may take some extra listening to fully appreciate; but once you get used to them, you can't get enough.
The legendary versions of "Something for Wolfgang Amadeus," (first published in Guitar Player in the '70s) and "Improvisation on Bolero" are here, as well as "Elegancia Del Sol," Larry's sensational tribute to flamenco-master Paco De Lucia, the gorgeous French impressionist meditation "La Pluie," the Django Reinhardt style "Waltz No.6," and a whole bunch of fantastic blues and rock inspired pieces. There's also Brian Keane's "A Piece for Larry," (which Larry himself found too difficult to play) one of the most complicated and beautiful acoustic guitar pieces I've ever heard.
If you're a fan of great guitar playing and don't already own this CD, you are suffering a SERIOUS lack; hurry up and buy this right now before your musical tastes atrophy. HIGHLY RECOMMENDED. By TUCO H.

Larry is truly an underated jazz giant. Saw him recently and Bolero on six string solo was truly amazing. Bolero is a virtuoso masterpiece.  By Phil Tentes

When I asked Larry Coryell what CD "Bolero" was on after his blistering set at the Tin Angel in Philadelphia he looked slightly perturbed by my question and answered "Bolero." I ordered the CD based on the performance of that one piece. The Bolero I heard that night was a little different than the one on the CD. It had a distinctly Indian flavor as if had been filtered through a Pakistani deli. I was blown away by the piece in concert and waited with baited breath for the CD to arrive. I was not disappointed. "Bolero" is arguably the finest collection of virtuoso acoustic guitar wizardry I have ever heard. Stylistically the CD veers between classical, jazz, flamenco and fusion with elements of rock. Despite this melting pot of influences, all the tracks mesh together seamlessly. The spirit of the music is positive, warm, upbeat and blissful. It would be the perfect CD to listen to while sitting on a beach watching the waves roll in. It gets played more than most of the CDS in my collection of over 600. I recommend it highly! By Loren West.

If you like acoustic guitar playing of the highest caliber, look no further. You've never heard playing like this...everything is played only as good as it has to be and left to breath. From flamenco influenced burners like "Elegancia del Sol" to wonderfully eccentric classical improvisations, everything on this record is a connoisseur's special yet accessible to all who can hear.  

Among the most flexible of jazz guitarists, Larry Coryell performs ten unaccompanied and largely acoustic solos and plays four duets with fellow guitarist Brian Keane (who has "A Piece for Larry" to himself). The intimate selections often come across as improvised classical music (although all but a couple of Ravel themes were composed by one of the two guitarists), with Coryell emphasizing the beauty of his tone and the melodic side of his style. This CD reissue was originally issued by the German String label. 

 Track Listings

  1. Improvisation On 'Bolero'
  2. Nothing Is Forever
  3. Something For Wolfgang Amadeus
  4. Prld from 'Tombeau De Couperin'
  5. Elegancia Del Sol
  6. Fancy Frogs
  7. 6 Watch Hill Road
  8. Blues In Madrid
  9. Motel Time
  10. At The Airport
  11. Brazilla
  12. A Piece For Larry
  13. La Pluie
  14. Waltz No.6
  15. Patty's Song
 
Personnel:

Larry Coryell - Guitar
Brian Keane - Guitar 

Cornell Dupree - 1993 "Child's Play"

Cornell Luther Dupree (December 19, 1942 – May 8, 2011^[1]) was an American jazz and R&B guitarist. He worked at various times with Bill Withers, Donny Hathaway, King Curtis and Steve Gadd, appeared on David Letterman,^[2] and wrote a book on soul and blues guitar: Rhythm and Blues Guitar. He reportedly recorded on 2,500 sessions.

Dupree was born and raised in Fort Worth, Texas, where he graduated from I.M. Terrell High School. Dupree began his career playing in the Atlantic Records studio band, recording on albums by Aretha Franklin (Aretha Live at Fillmore West) and King Curtis as a member of Curtis's band "The King Pins" (having grown up with King Curtis in Fort Worth). He appeared on the 1969 Lena Horne and Gábor Szabó recording, and on recordings with Archie Shepp, Grover Washington, Jr., Snooky Young and Miles Davis.
He was a founding member of the band Stuff, which featured fellow guitarist Eric Gale, Richard Tee on keyboards, Steve Gadd and Chris Parker on drums, and Gordon Edwards on bass. Dupree and Tee recorded together on many occasions. Notable albums include the aforementioned Aretha and King Curtis records, plus Joe Cocker's Stingray and Luxury You Can Afford, plus Cornell's solo albums Teasin', Saturday Night Fever (instrumental), Shadow Dancing, Can't Get Through, Coast to Coast, Uncle Funky, Child's Play, Bop 'n' Blues, and Unstuffed. He played on Brook Benton's "Rainy Night in Georgia" and "Please Send Me Someone to Love", and is featured on two tracks of Peter Wolf's 1998 album, Fool's Parade. He is also known for playing the opening guitar riff on Aretha Franklin's "Respect".
In December 1972, the UK music magazine, NME, reported that Dupree, along with Roberta Flack and Jerry Jemmott, had been injured in an auto accident in Manhattan.
In later years, Dupree used a Fender "red-knob" Twin Reverb and played a Yamaha signature guitar called the Dupree Super Jam (it used to be a model similar to the SJ-550 HM, but now is closer to a three-pickup Pacifica with a maple neck).
In 1989, Cornell recorded a video for Arlen Roth's Hot Licks called R&B Guitar, which documented his style, technique and influences. In 2009, Dupree appeared in a documentary entitled Still Bill, which chronicled the life and times of Bill Withers. He appeared on stage playing a guitar-led version of Grandma's Hands. Bill Withers, at first, was sitting in the audience, but ended up joining him on stage to sing the lyrics to the song. In this part of the documentary, Dupree played his guitar on a stool, breathing using an oxygen machine, which foretold his suffering from emphysema.
Dupree died on May 8, 2011 at his home in Fort Worth, Texas. He had been waiting for a lung transplant as a result of suffering from emphysema.

Tracklist:

1     Bumpin'     4:37
2     Short Stuff     4:01
3     Putt's Pub     5:17
4     For Blue's Sake     5:32
5     Child's Play     4:32
6     Smooth Sailin'     4:37
7     Ramona     5:08
8     Just What You Need     4:20
9     Mr. Bojangles     7:03

Personnel:

    Guitar, Producer – Cornell Dupree
    Alto Saxophone – Steve Greenfield
    Arranged By [Horns] – Richard Tee
    Bass – Will Lee
    Drums, Percussion – Eric Parker
    Flugelhorn – Randy Brecker
    Piano – Paul Shaffer
    Piano, Organ – Mitch Margold
    Tenor Saxophone – Scott Kreitzer
    Trombone – Randy Andos
    Trumpet – Barry Danielian

Larry Coryell - 1992 "Live From Bahia"

Nice Afro-Latin set with Coryell on acoustic guitar, recorded in Bahia. The assembled cast includes drummer Billy Cobham, alto saxophonist Donald Harrison, and several Brazilian musicians, notably vocalist Dori Caymmi. All Music.

1994 was a sad year to for Brazil with loss of two great men Jobim and Senna. This album on the other hand is a great gift from Brazil that cheers us up just after these events. It is always like this in Brazil, sad days followed by happy ones again and again, there is no other choice, it is a great ability of Brazilians to rejoice. This album reminds of a timeless Bahia, Salvador where sandy beaches and mulattos and cervejinhas and sun is eternal. You can feel these at your home, wherever you are, just by listening and occasionally gazing the album cover. By Deniz Ozut.

A previous poster / reviewer denigrated this fine CD release as pleasant mood music. What is wrong with that? What is wrong with progressive, melodic, and harmonic music? Is noise and dissonance the valued demanded sound?

The interplay of all concerned executants is great, conveying spirited fun. Dori Caymmi on vocals adds an element of exalted tinge of Brazilian flair.

The music within, played by some of the finest Jazz musicians around; Larry Coryell, guitar, Donald Harrison, sax, Marcio Montorroyos, fluglehorn, Billy Cobham, drums, Nico Assumpção, bass, assertively melds to form the fusion of Jazz and Brazilian flavors--guides the listener to a fine place, a fun place.

A perfectly fine CTI records compact disc of Jazz music that ironically enriches the reality and duality [of the release] in that, it is pleasant mood music. It is music that places one on the portico as seen on the video release, dancing and swaying to the music. By Matt Archuleta.

Two years before the release of Paul Simon's GRACELAND and the accompanying increase in awareness of world music, Larry Coryell travelled to Brazil and created this low-key recording in Brazil, which features many native performers--including vocalist Dori Caymmi who is featured on several cuts. Coryell is backed by a 9-piece band, including drummer Billy Cobham (who worked with Miles Davis and John McLaughlin) and saxophonist Donald Harrison, who should have gotten co-billing on this CD in that he has has many solos as Coryell himself. Overall, this is a fairly laid back affair. Coryell does a nice job of blending the local musical influences.
By Steve VranaHALL OF FAMETOP 1000 REVIEWER.

If you like Brazilian Jazz this is a great CD to listen to. And if you also like Coryell - this is one of his most consistent and well done recordings! A++ The Video of the live concert version is also a must to have! By Mozal.

Tracks Listing

1.The Harbor (5:41)
2. Old City new City (4:48)
3. The Crab Peddler (3:42)
4. Oshum, Goddess Of Love (4:09)
5. Bloco Loco (7:08)
6. Panama (3:37)
7. Bahian Night Walk (10:13)
8. Gabriela's Song (3:00)
9. Vera Cruz (9:01)

Total Time 51:18

Line-up / Musicians

- Larry Coryell / acoustic and electric guitars
- Dori Caymmi / acoustic guitar and vocals
- Romero Lubambo / acoustic and electric guitar
- Billy Cobham / drums
- Donald Harrison / soprano and alto sax
- Marcio Montarroyos / trumpet
- Luiz Avellar / keyboards
- Nico Assumpcao / electric bass
- Monica Millet / percussion
- Tiao Oliveira / percussion
- Bashiri Johnson / additional percussion
- Francisco Centeno / additional electric bass 

Pat Martino - 1972 [1997] "Footprints"

Originally released by Cobblestone and later by Muse, this 1997 CD reissue from 32 Jazz features the distinctive and exploratory guitarist Pat Martino in a tribute to Wes Montgomery. Martino does not attempt to sound like Wes (although he uses octaves here and there), and only one of the six selections ("Road Song") was actually recorded by Montgomery; the tribute is more heartfelt than imitative. With the intuitive assistance of rhythm guitarist Bobby Rose, bassist Richard Davis, and drummer Billy Higgins, Martino stretches out on six selections, including a bluesy original ("The Visit"), "Footprints," and "Alone Together," always sounding like himself and pushing the boundaries of straight-ahead jazz.

Footprints was originally released as The Visit on Cobblestone Records in 1972 then reissued on Muse under its current title in 1975. This superb record was Pat Martino's sixth as a leader and his first away from the Prestige fold. This tremendous quartet session was recorded March 1972 when the guitarist was still only 27 and featured the substantially driving input from bassist Richard Davis, second guitarist Bobby Rose and drummer Billy Higgins. The disc was conceived as a personal tribute to the memory of his friend, Wes Montgomery, and while it certainly has links to its inspiration, Footprints clearly outlines some of Martino's most beautiful traits—crisp, logical, narrative lines; nothing hurried or studied but, rather, a most thoughtful statement of heartfelt intention.

The disc, recently reissued on CD by 32 Jazz, begins with Martino's rousing "The Visit," a 6/8 blues piece that suggests a much more adventuresome Wes-like appeal. Richard Davis assumes the role of dueling co-leader rather than timekeeper here and throughout. And it really makes a difference too.Montgomery's "Road Song" is explored to show the similarities—and differences—in the two guitarist's styles. Martino, a player of many ideas, traverses Wes's octaves and performs single-note patterns that would leave Montgomery green with envy. The blues balladry of Wayne Shorter's enchanting "Footprints" gets one of its most haunting, ethereal performances ever in Martino's free-for-all exploration. Martino glides over his fretboard effortlessly while Davis and Higgins work a simpatico gypsy groove (Davis has a provocative solo here too). Bobby Rose is heard, ever so rhythmically, challenging Martino to find new paths, making one wonder where the Gabor Szabo/Jimmy Stewart team would have taken a gem like this. The program is rounded out with the excellent performances of Michel Legrand's "What Are You Doing The Rest Of Your Life," "Jobim's "How Insensitive" and the Dietz/Schwartz standard "Alone Together"—a collection of crowd-pleasing tunes that would fit easily into many of Wes Montgomery's Verve dates.

During a 30-year recording career of many highs and a few lows, Footprints stands as one of Pat Martino's very best. The musicianship is superior, dynamic and attention grabbing. Best of all, this ideal quartet's interplay is outstanding and often astounding. Very highly recommended.

Conceived as a tribute to Wes Montgomery, this album was originally issued as The Visit in 1975. At the time, jazz guitar was experiencing a revival of sorts that primarily focused on players who had first gotten their start in the ’50s. In that context, this work-attitude laden and rife with hip, technically pristine blowing-represented a breath of fresh air that helped lay the groundwork for the Martino mystique.

Supported by second guitarist Bobby Rose, bassist Richard Davis, and drummer Billy Higgins, Martino utilizes a wide range of grooves to conjure a variety of moods. A bright jazz waltz in the mold of Montgomery’s “West Coast Blues,” “The Visit” swings mightily, giving Pat a chance to shape long, fluid lines that frequently dip into his deep creative well. The head to Montgomery’s easy grooving “Road Song” is rendered in octaves; during the blowing section, Pat freely contrasts extended phrases with bluesy licks. Slow and seductive, “Footprints” explores new spaces that find Martino playing rhythmically and at one point incorporating a series of microtonal bends (the ending features some especially cool bow work by Davis).

While the album’s length is brief by today’s standards and it would have been nice if this reissue had retained the original art and title (the original liner notes are included), it’s Martino’s musicality-here at the height of its powers-that makes Footprints a jazz guitar classic.

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". (Out of print.) 

Track listing

1. "The Visit" (Pat Martino) - 4:34
2. "What Are You Doing the Rest of Your Life?" (Alan Bergman, Marilyn Bergman, Michel Legrand) - 7:18
3. "Road Song" (Wes Montgomery) - 5:43
4. "Footprints" (Wayne Shorter) - 8:22
5. "How Insensitive" (Norman Gimbel, Antônio Carlos Jobim, Vinícius de Moraes) - 6:13
6. "Alone Together" (Howard Dietz, Arthur Schwartz) - 5:52

Personnel

• Pat Martino - guitar
• Bobby Rose - guitar
• Richard Davis - bass
• Billy Higgins - drums

Larry Coryell - 1991 "Twelve Frets To One Octave"

A guitar showcase for Coryell, who has always been among the more accomplished players on either electric or acoustic. He goes through old blues, jazz standards, and everything in between. There's absolutely nothing else to support him, enabling Coryell to display his complete technical arsenal.

I bought this album before amazon was a company and I still find it to be one of the best acoustic guitar albums I have. Such wizardlike mastery of the wooden instrument he has. Progressive jazz in a real organic matrix. Must have!!!!!

For guitarists that are curious about Larry's playing , there are guitar lessons inside! 

 Tracklist

01     Allegra's Ballerina Song   
02     Murali's Picture   
03     Flamenco Flare-Up   
04     Blue Monk   
05     Night Rain   
06     Dye Me Blue   
07     Transparence   
08     Blues For 'Charley The Lobster'   
09     Light Sweet Crude   
10     Bartok Eleven   
11     Alfonsina Del Mar   
12     Lotus Revelation   

Personnel:

    Guitar – Larry Coryell

Children On The Corner - 2003 "Rebirth"

Even more come across the time-worn paths of ether and obscurity: Children on the Corner is a collective made up of ex-Miles Davis sidemen from his eclectic years that include Sonny Fortune, Michael Henderson, Badal Roy, Ndugu Chancler, and Barry Finnerty. The band is led by keyboardist and composer Michael Wolff, the only non-Davis personnel. Rebirth was recorded live over two nights at the popular Oakland, CA, nightspot Yoshi's. The program is a set of tunes from Davis, as well as some group and Wolff originals. The album kicks off with one of the most inspiring readings of Josef Zawinul's "Directions." For over 21 minutes, Fortune and Wolff explore the outer reaches of Davis' loose harmonic universe. The small vamps and riffs are deceptive in that they provide a framework for all kinds of harmonic interaction across numerous planes. Dissonance and groove enter into a beautiful dialogue as Fortune blows the living hell out of his ax. Wolff's fills with the right hand to provide a reference not for returning, but for jumping off, and Finnerty's razored chords and riffing patterns keep blues and funk in the forefront of the groove itself. "New York Girl" is done is two parts here with the band's own "Oakland Raga" -- featuring Roy's shimmering tables on the tip of the greasy funk underneath inserted between sections of Wolff's own compositions. "Madimba" and "Tone Poem" are melodic tonal studies that borrow from Davis' modalism as much as they do his minimalism and open the way for the psychedelic street jam "Bb Philly Funk." The set closes with an elongated, greatly inspired performance of the singsong-y "Black Satin," with the rhythm section bringing it home into the mysterioso Selim S'evade darkness with nods to George Clinton. In all, this is a fine, deftly played, and emotionally fired-up recording, one of the better post-Davis tributes out there; it deserves to be heard for the depth of inspiration and sheer musicianship between bandmembers alone. That the music stands on its own outside the Davis connection is a tribute to the emotional and musical commitment of Children on the Corner.

Miles Davis’s first electric period traced an arc from 1969 to 1975 which continues to inform the most exploratory electric jazz of the past three decades. Miles developed techniques (generic cross-pollination and studio cut and paste, to name only two) which produced seriously funky and out music and which have inspired a whole slew of innovators including – to take fellow trumpeters as one example – Jon Hassell, Cuong Vu, Dave Douglas, Erik Truffaz and Rob Mazurek. Miles Davis’s legacy continues to serve as a sturdy dam against the waves of conservatism promulgated by the likes of Stanley Crouch, Wynton Marsalis and numerous conservatory graduates. In terms of influence Miles always was and, more than a decade after his death, continues to be both archetypal outsider and right at the very center of things.

That’s one part of Miles Davis’s bequest. Wadada Leo Smith’s Yo Miles! and Mark Isham’s Silent Way Project have taken another route and approached Miles’ 1970s music as repertoire ripe for musical interpretation. Two recently formed groups to have shared this approach comprise former members of Miles’ 1970s groups: guitarist Pete Cosey’s Children of Agharta and Michael Henderson’s Children On The Corner. In the latter example Miles Davis’s bassist is joined by three other Davis alumni: Ndugu Chancler on drums, Sonny Fortune on sax, Badal Roy on tablas and two others, Michael Wolff on keyboards and Barry Finnerty on guitar.

Rebirth is a pleasure. Sonny Fortune literally kicks off “Directions” with a five minute solo at once more urgent and more ragged than his playing on Agharta and Pangaea. Ndugu Chancler and Michael Henderson drive the music along and Barry Finnerty’s guitar, though no match for Cosey, is at times suitably firey. Michael Wolff’s organ dovetails nicely with the rest of the group although his two compositions, “Oakland Raga” and “Madimba,” sound out of place alongside the other pieces.

Miles Davis established a level of innovation, passion and commitment to which most can only aspire. Ultimately your judgement of Children On The Corner will rest upon your perception of his 1970s music and what it is that continues to make it vital thirty years later.

All through jazz history, Miles' groups were incubators of young talent, and this record brings together some of the artists that sprang forth from his bands of 70s and early 80s. The title of this project is a reference to that role as well as to the seminal record of that area, "On The Corner".
The key player here is Michael Henderson, who not only was on that recording, but provided the bass that was virtually the backbone of all of Miles' groundbreaking recordings of the early 70's. Here he's teamed with Ndugu Chancler, who toured with Miles and Michael just after the "Live Evil" record. Chancler and Henderson are so locked in that it's a blast just to listen to these two guys. But essential to the unique sound of "On The Corner" was tabla, and this record is fortunate to have the man from that recording, Badal Roy, who merges brilliantly with these two.
Sonny Fortune, who came on the band not long after that release, shows that still he's pushing himself into new territory like he did with Miles in '74 and '75; it's like watching an painter in his studio sketching new works. Barry Finnerty, who was on Miles' comeback record "Man with The Horn", shifts back and forth from the chopping rhythm to a variety of leads that were essential to the sound of Miles' groups at that time. The keyboardist here, Michael Wolf, didn't play with Miles, but is clearly a serious student while adding his own unique personality (always what Miles sought from his players).
So this record is a big breath of fresh air for jazz fans who don't believe that jazz should have stopped in 1967. And for the DJs that are checking out past jazz masters through releases like the "Verve Remixed" series, here's some real live present day jazz masters pushing on in new directions, in the way Miles taught them.
 
The concept of the band is good, even if the recording quality leaves plenty to be desired. It shows electric jazz has developed its own conventions, and like acoustic bebop, electric jazz is becoming circumscribed by style with electric jazz “tradition” of electric-era Miles and Tony Williams Lifetime spiced with a little Mahavishnu-inspired chops being the standards. Once again jazz’s heritage is tending to overwhelm the present.

Track Listing:

1. Directions;
2. New York Girl I;
3. Oakland Raga;
4. New York Girl II;
5. Madimba;
6. Tone Poem;
7. Bb Philly Funk;
8. Black Satin.

Personnel:

Barry Finnerty: guitar;
Michael Wolff: piano, keys;
Ndugu Chancler: drums;
Sonny Fortune: sax, flute;
Michael Henderson: bass;
Badal Roy: tablas

Larry Coryell - 1990 "American Odyssey"

Larry Coryell (born Lorenz Albert Van DeLinder III; April 2, 1943 – February 19, 2017) was an American jazz guitarist known as the "Godfather of Fusion".

Coryell was born in Galveston, Texas. He graduated from Richland High School, in Richland, Washington, where he played in local bands the Jailers, the Rumblers, the Royals, and the Flames. He also played with the Checkers from nearby Yakima, Washington. He then moved to Seattle to attend the University of Washington. He played in a number of popular Northwest bands, including the Dynamics, while living in Seattle.

In September 1965, Coryell moved to New York City, where he attended Mannes School of Music,and then became part of Chico Hamilton's quintet, replacing Gabor Szabo. In 1967 and 1968, he recorded with Gary Burton. Also during the mid-1960s he played with the Free Spirits, his first recorded band. His music during the late-1960s and early-1970s combined the influences of rock, jazz, and eastern music. He married Jewish writer-actress Julie Nathanson before the release of his first solo album, Lady Coryell, which like Coryell, At the Village Gate, and, The Lion and the Ram featured her photos on the cover (there is a 'ghost' nude of her descending a staircase on the Aspects album cover). Julie's poetry was featured on the back cover of Ram. She was an important part of his career, as inspiration, management, and appearance at recording sessions. She wrote a book based on interviews with jazz-rock musicians, including John Abercrombie, and Jaco Pastorius.

In the early 1970s, he led a group called Foreplay with Mike Mandel, a childhood friend, although the albums of this period—Barefoot Boy, Offering, and The Real Great Escape—were credited only to "Larry Coryell." He formed the group The Eleventh House in 1973. The album sold well in college towns and the ensemble toured widely. Several of the group's albums featured drummer Alphonse Mouzon.

Following the breakup of this band, Coryell played mainly acoustic guitar but returned to electric guitar later in the 1970s. He released an album credited with Mouzon and an album with the Brubeck Brothers that was recorded direct-to-disc, a recording method revived for a time. He made several acoustic duet albums, two with Belgian guitarist (and former Focus member) Philip Catherine. Their album Twin House (1977), which contained the song "Miss Julie", drew favorable reviews.
In 1979, Coryell formed The Guitar Trio with fusion guitarist John McLaughlin and flamenco guitarist Paco de Lucía. The group toured Europe and released a video recorded at Royal Albert Hall in London entitled Meeting of Spirits. In early 1980, Coryell's drug addiction led to him being replaced by Al Di Meola. Julie Coryell sang on one track of Comin' Home (1984). The couple divorced in 1986. She died in 2009. Coryell recorded an album with (and was briefly romantically involved with) Emily Remler before her death from a heroin overdose while on tour in Australia. His two sons, Julian Coryell and Murali Coryell, are also involved in the music business.

Coryell died of heart failure in New York City, at the age of 73.

Tracks Listing

1. Julian's Card (4:24)
- Rodeo, suite :
2. Buckaroo Holiday (7:42)
3. Corral Nocturne (3:49)
4. Saturday Night Waltz (4:29)
5. Hoe-Down (4:26)
-
6. El Salon Mexico (10:00)
7. Adagio For Strings (6:17)
8. Concerto For Clarinet (6:38)
9. New Age In America (3:14)

Total time 50:59

Line-up / Musicians

- Larry Coryell / Ovation acoustic guitar

With:
- Wayne Shorter / soprano & tenor saxes (7,8)

California Guitar Trio - 2001 "Live At The Key Club" (With Tony Levin & Pat Mastelotto)

California Guitar Trio (CGT) is a band of three guitar players founded in 1991. The three—Paul Richards of Salt Lake City, Utah, Bert Lams of Affligem, Belgium, and Hideyo Moriya of Tokyo, Japan—met at a 1987 Guitar Craft course, in which Robert Fripp instructed them in the New Standard Tuning (NST). After completing several of Fripp's Guitar Craft courses, the three toured as part of Robert Fripp and The League of Crafty Guitarists.^[1]
Continuing their collaboration then in Los Angeles, they founded The California Guitar Trio in 1991. They continue to play in the New Standard Tuning.^[1] Their performances and recordings include original compositions, surf covers, and classical re-workings of classical music. Their influences include European classical music, rock, blues, jazz, world music, and surf music.
The Trio's music was featured during the television coverage of the 1998^{[citation needed]} and 2000 Olympic Games,^{[citation needed]}. It has been featured on CBS, NBC, CNN WorldBeat, and ESPN TV programs.^{[citation needed]} They performed on the 2003 Grammy Awards-nominated track "Apollo" on Tony Levin's CD Pieces of the Sun.^{[citation needed]} CGT music served as wake-up music for the crew aboard NASA’s Space Shuttle Endeavour.
The California Guitar Trio performed as an opening act for King Crimson, from which bassist Tony Levin and drummer Pat Mastelotto regularly join the CGT for live shows. CGT has shared the stage with many performancers, including the following: John McLaughlin, David Sylvian, Tito Puente, Leftover Salmon, Taj Mahal, Steve Lukather, Simon Phillips, Adrian Legg, Adrian Belew, Jon Anderson.
The Trio has released 16 albums: seven studio CDs featuring original CGT songs and a variety of other works spanning numerous genres, four live releases, and a Christmas CD with Christmas music. Lams has also made a solo album of Bach preludes titled Nascent.
In August 2004 they released Whitewater, which was produced by Tony Levin. It features mainly original works of the CGT, offset by a puzzle-work arrangement of a Bach lute suite and a mashup of "(Ghost) Riders in the Sky" with The Doors' "Riders on the Storm." This was followed in 2008 by Echoes, an album composed entirely of covers, and 2010's Andromeda, the band's first release to consist entirely of original material. The 2012 release Masterworks is an all classical music compilation featuring music by Beethoven, Bach, Vivaldi, Rossini and Part. Chicago guitar virtuoso Fareed Haque played on Vivaldi's Winter, and Tony Levin played upright bass and cello on four tracks.

On February 3, 2001, the California Guitar Trio played in Hollywood's Key Club. Fortunately, they also had the stellar rhythm section of Tony Levin and Pat Mastelotto to accompany them. The result is a wonderful effort in exploring the possibilities of a guitar ensemble in both composition and execution. The album is also an exploration of music in general - a CGT concert can run the gamut from Queen to Beethoven to surf music to country, and the band recognizes the power of the music above all else. As talented as the Trio is, it's even more admirable that they are willing to take a back seat to the music itself. The personnel on this album are: Paul Richards, Hideyo Moriya, and Bert Lams, acoustic guitars; Tony Levin, bass; and Pat Mastelotto, drums and percussion.

Since 1998, the California Guitar Trio has regularly toured with expanded versions of the band. The fan favorite is no doubt the quintet form with King Crimson members Tony Levin and Pat Mastelotto. A live album, Live at the Key Club, was made available in 2001 through the CGT Direct Collectors' Series. CG3+2 takes the quintet in the studio to record their repertoire. The track list includes a couple new CGT compositions, jams and studio constructions credited to the whole group, a few more of those incredible covers the band is known for, and a few old favorites revisited. Granted, "Melrose Avenue," "Blockhead," and "Train to Lamy," all dating back to the trio's first two albums (Yamanashi Blues in 1994; Invitation in 1995), suffer a bit from overexposure, but having a rhythm section to back them up is a whole new thing -- "Melrose Avenue" turns into a splendidly driving album opener. The group compositions, in which engineer Bill Munyon also had a word, are not as satisfying as the trio's own songs. Somewhat looser, they don't pack as much energy or beauty as "Skyline" and "Eve," the two new pieces co-written by the team of Bert Lams, Paul Richards, and Hideyo Moriya. The highlights are provided by the covers: Yes' "Heart of the Sunrise," the Mahavishnu Orchestra's "Dance of Maya" (did someone mention virtuosity?), and two delightful Japanese traditional tunes rearranged by Moriya -- "Zundoko-Bushi" even includes bits of King Crimson's "21st Century Schizoid Man" and "Vrooom." CG3+2 is only half new to the fans and constitutes a meager offering composition-wise. But if the idea of the guitar trio being backed by such a skilled rhythm section makes you salivate, then by all means grab it. You won't be disappointed!

It was only a matter of time before the internationally-based California Guitar Trio's world academia-flavoured approach to creating music with the acoustic guitar would summon others into their fold. Luckily, they procured the world's greatest rhythm section - bassist Tony Levin and acoustic-electric percussion pioneer Pat Mastelotto, who befriended them while opening up for King Crimson on tour. "Over the years, we've played with several others on stage - Robert Fripp, Trey Gunn, Bill Janssen and Jarrod Kaplan," explains guitarist Bert Lams. "We've always kept our eyes out for opportunities to play with guests to expand our horizons. We've always wanted to play with a singer and having Tony is like playing with a voice. He adds an extra dimension to the music we play. Tony has a unique style; he has acquired freedom on his instrument, it's an incredible experience to be playing with a musician of that calibre. Pat adds a lot of power and groove. We actually had some people in the audience dancing! He also has tremendous musical input and has loads of enthusiasm to help really kick things along." As a trio, they project sounds with the power of an orchestra, and their attention to detail is like using pointillism to paint an emotional landscape. As a five-piece, they syncopate as if they were contained inside a high-speed subway rocket; the complex mix of Spanish, Japanese, surf and prog arrangements are amusing, controlling the audience like stoplights at a major city intersection. Originals, covers (including Yes's "Heart of the Sunrise") and daring improvs grace this live recording, which will indiscriminately charm infants up through to the aged. Lams knows where things will continue to progress, "this went so well that we decided to do another tour as a quintet this August, as well as recording a studio album together."

Tracks Listing

1. Train to Lamy (4:56)
2. Zundoko Bushi (with excerpts from 21st century schizoid man) (3:43)
3. Blackhead (3:36)
4. Apache (3:26)
5. Sketches on sunset (6:48)
6. Discipline (4:51)
7. Misirlou (1:58)
8. Many people ask us... (3:05)
9. Melrose Ave. (2:15)
10. Dance of Maya (5:54)
11. Heaven's bells (6:56)
12. Heart of the sunrise (7:22)
13. Caravan (5:28)
14. Eve (4:02)

Total Time: 64:20

Line-up / Musicians

- Bert Lams / guitars
- Hideyo Moriya / guitars
- Paul Richards / guitars
with
- Tony Levin / stick, bass
- Pat Mastelotto / drums