Larry Coryell & the Eleventh House - 2014 "January 1975" (Livelove Series Vol 1)

In the 1970s, Germany's Radio Bremen simulcast a series of modern jazz concerts from all across the spectrum, and wisely archived them. Record producer Consul Bodo Jacoby was looking for a new project after losing the rights to reissue the MPS catalog and recalled them. His Promising Music label is issuing a number of these vintage performances in what he calls the Livelove series, of which January 1975 is the first volume. This date, captured via mobile truck by the engineers of the radio station, features Larry Coryell & the Eleventh House in full flight, between the band's debut album Introducing the Eleventh House and its sophomore offering, Level One. It is the lineup from the latter record performing here. Trumpeter Michael Lawrence replaces Randy Brecker, and bassist John Lee takes over from Danny Trifan. Keyboardist Mike Mandel and drummer Alphonse Mouzon are mainstays with Coryell. While this is most certainly jazz rock fusion, it is decidedly more on the jazz tip than most of what falls under the heading. Lawrence's trumpet and Coryell's guitar consistently cover the front line of compositions such as "Eleventh House Blues" which, despite the wah-wah blues-rock intro, walks a tough bop line. The sprawling "The Other Side" uses a tight head and middle eight before moving off into the galactic regions of fusion. Ballads such as "Diedra" showcase the kind of detailed lyricism this quintet was capable of. "Julie La Belle" is an unaccompanied acoustic guitar solo that reveals the depth of the influence Brazilian and Spanish masters have had in Coryell's style. But there are also tracks that flaunt their rock dynamics such as the brooding "Low Lee Tah," which erupts with Lawrence's bleating solo halfway through before being answered in call and response by Coryell on the highwire. Mandel's Rhodes playing on "Suite (Entrance/Repose/Exit)" is the unexpected anchor here, creating space as well as harmonic and chromatic intrigue. The rhythm section doesn't so much hold down the fray as push it forward into white heat -- check Lee's intense conversation with Lawrence at the midpoint before Coryell reenters. Mouzon is on fire throughout. This is a stunning show, on par with anything by Mahavishnu Orchestra or Return to Forever; more rooted in jazz. If January 1975 is any indication of the performance quality of this vault series, there is much to celebrate.

Guitarist Larry Coryell is unquestionably one of the pioneers of jazz/rock fusion, incorporating rock elements as early as the mid-1960s with the group Free Spirits, and later with vibraphonist Gary Burton. He never attained the recognition of many who followed, but the Eleventh House was an attempt to attract the same audience as groups like John McLaughlin's Mahavishnu Orchestra, Weather Report, and Chick Corea's Return to Forever. The Eleventh House that played Bremen in 1975 was the same group that had recorded the group's second studio album Level One (Arista, 1975), with trumpeter Mike Lawrence replacing Randy Brecker and bassist John Lee replacing Danny Trifan. Original members keyboardist Mike Mandel and drummer Alphonse Mouzon (as well as Coryell himself) were still on board.

The set includes five tunes from Introducing the Eleventh House (Vanguard, 1974), three from Level One, a single track from Coryell's album The Restful Mind (Vanguard, 1975), and three that were previously unrecorded. Two of them later turned up on the live album At Montreux (Vanguard, 1978). The band comes charging in with the high energy "Bird Fingers," but then takes a surprising mellow turn. Mike Mandel's ballad "Diedra" is followed by "Gratitude "A So Low,"" the first of two Coryell solo performances (as well as the first of the punning song titles).

"Low Lee Tah" continues with Coryell alone, but the band kicks back in before long. Alphonse Mouzon's "Funky Waltz" bears a very strong resemblance to Weather Report's "Boogie Woogie Waltz." Mouzon had left Weather Report long before they recorded it, so maybe it's a coincidence—and it is indeed a funky waltz. Coryell plays "Julie La Belle" (from The Restful Mind) unaccompanied, throwing in a quote from "Scotland I," originally recorded on the proto-Eleventh House album Offering (Vanguard, 1972).

Keyboardist Mike Mandel also gets a solo spot for his tune "Untitled Thoughts." Then the whole group jumps into "Adam Smasher," and they absolutely rock out. Of all the fusion guitarists of this era, Coryell is the one with the strongest flavor of pure American rock and roll guitar in his playing, when he wants it. This tune also encapsulates the difference between these live versions and the studio originals. They're only slightly longer, for the most part—so the musicians aren't stretching out significantly—but the energy level is ramped way up.

There's a wonderful quote in the CD booklet from an audience member, just as the second song was starting: "You have to play even louder." This was a band that loved to do the stereotypical loud and fast fusion thing, but even in this outdoor concert setting they weren't afraid to mix it up. They were also more of a collective than the other leading fusion groups, with compositional input from most of the members.

They were a group that deserved wider recognition—as does Larry Coryell himself—and this live recording makes a strong case. If you were there, it's a fine souvenir. If you weren't, it's a potent reminder of how vibrant early fusion could be, before it became overwhelmed by cliche and excess.

Really great work from Larry Coryell and his Eleventh House combo – a set that's maybe even harder and funkier than we remember from any of the group's studio work! The performance was caught live by German radio in the mid 70s – and is a wonderfully-recorded date that has the guitar of Larry Coryell coming out with all these amazing fuzzy tones, next to killer keyboard work from Mike Mandel – who really wins us all over again with is work here! Coryell's got lots of sinister tones in his guitar, but is never too rockish – and the rest of the group features Mike Lawrence on trumpet, John Lee on bass, and Alfonse Mouzon on some mighty heavy drums – on titles that include "Julie La Belle", "The Other Side", "Bird Fingers", "Diedra", "Low Lee Tah", "Funky Waltz", and "Adam Smasher".

When in 1975 Larry Coryell went on tour with his short-lived all-star group The Eleventh House, the jazz-rock scene had just reached its climax. Although Larry is considered by many historians to be one of the first to melt jazz with rock, he never entered the rostrum as winner (one could guess, that his 'mistake' was not to be in any of the Miles Davis groups). With this recording this might change in retrospect. Very few acts of that era were that powerful. Hymns, simple hit melodies, funk grooves, blues rock guitar, 70ies synth sounds, and a lot of fun and entertainment were the ingredients of a concert evening to be remembered. The material chosen was like 'The Best of the Eleventh House'. While many other fusion protagonists with a jazz background used rock, blues, and funk elements, thinking this might make their music more accessible (some slipping towards easy listening, others were just unable to create a rock feeling), Larry Coryell & the Eleventh House used all these styles at well-balanced eye level.

Track Listing:

01 Bird Fingers;
02 Diedra;
03 Gratitude "A So Low";
04 Low Lee Tah;
05 Funky Waltz;
06 Suite (Entrance / Repose / Exit);
07 Julie la Belle;
08 The Other Side;
09 Tamari;
10 Untitled Thoughts;
11 Adam Smasher;
12 The Eleventh House Blues.

Personnel:

Larry Coryell: guitar;
Mike Lawrence: trumpet, flugelhorn;
Mike Mandel: keyboards;
John Lee: bass guitar;
Alphonse Mouzon: drums.

Jimmy Bruno - 1996 "Like That"

Although Like That was recorded in New York, many of the people involved with the project were Philadelphians. The pleasing hard bop date unites Jimmy Bruno's Philly-based trio of the 1990s (which includes bassist Craig Thomas and drummer Steve Holloway) with organist/trumpeter and Philly native Joey DeFrancesco, while the liner notes were written by guitar great Pat Martino (another Philadelphian). Producer Allen Farnham, however, lived close to New York in northern New Jersey. Bruno's guitar and DeFrancesco's organ prove highly compatible on selections ranging from Sam Jones' "Unit Seven" and Jerome Kern's "The Way You Look Tonight" to Bruno originals such as the sentimental "Waltz for Nancy," the angular "Raezer's Edge," and the mellifluous "Night Dreamer." Although DeFrancesco plays organ on most of the 11 songs, he switches to the trumpet and favors a Miles Davis-influenced mute on relaxed versions of "There Is No Greater Love" and "Stars Fell on Alabama." Bruno's Concord output has been quite consistent, and this fine CD is no exception.

Having paid his dues for 20 years, guitarist Jimmy Bruno has returned to his roots of straight-ahead jazz in his hometown of Philadelphia.
After an auspicious debut on the album Sleight of Hand in 1992, Bruno continues to press forward to the delight of fans who are discovering for the first time his intricate technique and melodic aptitude. On Like That, Bruno's regular trio teams up with Joey DeFrancesco to create a guitar/organ collaboration that brings out the best in both of them.
After learning guitar from his father, Jimmy Bruno, Sr. (who had a hit in 1959 with the "Guitar Boogie Shuffle" and who used to back up Nat King Cole), Bruno, Jr. struck out on his own at the age of 19 when he joined the Buddy Rich band. After only a year of touring, he moved to Las Vegas, only to find his jazz ambitions frustrated by the repetition of casino bands. He put down roots in Las Vegas, but his restlessness got the best of him, forcing him to move to Los Angeles for work on television and film sound tracks. As he neared the age of 40, Bruno chucked it all and moved back to Philadelphia to start fresh in a jazz career.
He couldn't have made a better move. Not only does he have four albums under his belt, but also he's a professor at Philadelphia's University of the Arts, as is bassist Craig Thomas, and Bruno performs regularly at Chris' Cafe.
Along with the usual guitarists, Bruno lists his influences as John Coltrane, Oscar Peterson, Charlie Parker and Art Tatum—which makes sense when you realize that Bruno thinks in musical concepts instead of licks.
Most of the original compositions on the album—six by Bruno and one by Thomas—are constructed from fairly simple chord changes and a logical concept. But the things he and DeFrancesco do with them!
DeFrancesco proves his adaptability as he responds to Bruno's explorations, and the "chatter" they develop at the culmination of Pat's House, a tribute to Pat Martino, is head-spinning and awe-inspiring.
Then for contrast, there's Waltz for Nancy, whose beautiful simplicity Bruno plumbs with unpretentious variations and effortless cascading of sixteen-note and then triplet lines that seem to evolve naturally from the theme.
While the tunes involving DeFrancesco's B-3 work are the most satisfying, he plays muted trumpet on There Is No Greater Love and Stars Fell on Alabama for subtle effect.
While Les Paul isn't listed as one of Bruno's influences, the Les Paul sound seems to be referenced in the title number called Like That, and indeed, Pat Martino mentions that Paul predicted he would write liner notes for Bruno someday. The mutual admiration between Bruno and Martino seems evident. Bruno records Pat's House, named after, of course, Pat Marino's house. And then, Martino remarks, "Jimmy's one of the most astounding players I've had the pleasure of knowing."
This album was a discovery for me, and it's gratifying to learn about a new jazz guitarist following a tradition of melodic revelation, compositional talent, and technical excellence.

Guitar master, Jimmy Bruno, is exceptional here and demonstrates not only how to shine without sounding forced or over the top but how to enhance the gifts of incredible playing partners.

From your stereo speakers when you listen to this extrordinary disc! Grooves and swings from start to finish with world class musicianship from Bruno, featured guest Joey DeFrancesco and the rhythm section. Bassist Craig Thomas composition on the disc's opener "EV" is a great swinging starter, as are other disc highlights; "Pat's House", "Unit Seven", the elusive chords of "The Iguana's Uncle", and Jimmy's seven string chord melody intro to "Waltz For Nancy". We even get a Miles muted trumpet outing from Joey D. on "There Is No Greater Love".
This disc is a great collaboration between these two artists and recommend it ALL jazz lovers! 

I bought this album when it first came out and shelved it for a while. Now I'm giving it a second listen and I love it! It's the best Jimmy Bruno album, showing a more serious and eclectic side of his playing. I only wish his keyboardist DeFrancesco played a few less notes.
If you're someone who loves a traditional jazz guitar, you will not be disappointed. Bruno has the best chops in the the business.

I just recently got this album, and all I can say is that to me this is Bruno at his best. Having the great Joey DeFrancesco as his melodic foil pushes him to play at the zenith of his abilities. There simply is not a weak track on this CD. I especially enjoyed the relatively relaxed feel of "Unit 7". And for sheer excitement, "Pat's House" is a blast. This track reminds me of the McLaughlin/Coryell/Vitous collaboration "Spaces". However as great as John and Larry are, Bruno is just in another league.

They say that Jimmy Bruno is the greatest unknown modern jazz guitar player. This CD proves it. As a bonus, Joey DeFrancesco plays some great B3 along with the tight groove of drummer Steve Holloway and Bassist Craig Thomas. This CD provides high octane hard bop throughout, but "Unit Seven" alone is worth the price...WOW, I gotta see this guy live.

Track listing:

01. E.V.     4:39
02. Raezer's Edge     5:03
03. Waltz For Nancy     5:41
04. There Is No Greater Love     6:12
05. The Iguana's Uncle     4:24
06. Pat's House     5:23
07. Night Dreamer     6:15
08. The Way You Look Tonight     5:24
09. Like That     4:48
10. Stars Fell On Alabama     3:26
11. Unit Seven     8:08

Personnel:

Jimmy Bruno, guitar;
Joey DeFrancesco, organ, trumpet*;
Steve Holloway, drums;
Craig Thomas, acoustic and electric bass    

The Eleventh House Feat. Larry Coryell - 1976 [2014] "Aspects"

Never fit to be tied, Coryell decided to leave behind his jazz-rock fusion in pursuit of disco-funk. There is some good playing here (Coryell lays out on "Kowloon Jag"), but this is not a complimentary setting for him. John Lee and Gerry Brown were the correct sidemen for the job, as was the inclusion of David Sanborn, but Coryell sounds uncomfortable and continuously reverts back to his trademark licks when he runs out of ideas. Even the guitar solo, "Rodrigo Reflections," turns out to be a disappointment due to some very annoying and poorly recorded percussion accompaniment. A less than memorable session that probably seemed like a good idea at the time. All Music.

Reissue of this 1976 album from this band formed by Jazz great Larry Coryell. Larry is best known as one of the original Jazz-Fusion guitarists of the 1970s. He has issued solo albums, along with collaborations with John McLaughlin and other Fusion-Jazz luminaries. He also headed up the highly praised Fusion group the Eleventh House. This group featured keyboardist Mike Mandel. 

This is one of my all time favourite Coryell albums. I have Been waiting for a long time for this to come out on cd, I own the record! I discovered Coryell back when the fusion stuff was taking off, early - mid 70's. I got to see Larry open for John Mclaughlin with his "One Truth Band" at the Columbus Ohio Agora Larry and John even did an impromptu` just trading licks onstage. Kowloon Jag, Titus, and Aspects, are probably my fav's. One thing I always liked about Larry, he's famous for doing a song in one take, even if it meant leaving a 'pucker' (mistake) on the recording to keep it fresh. Watch out folks, don't be alarmed, this album comes from and era when every song on an album was good. Get This One!  By Marilyn Westhoff.

This classic Jazz Fusion album is some of the best youll find anywhere. Outstanding line up, great guitar work Brecker Brothers & Larry Coryell is all you need to know. By John Faulkner.

Very underrated fusion band, Eleventh House had a shot but prolific lifetime.
"Aspects" is by far the funkiest record they've recordered.
Although the production lacks of quality, just like "introducing eleventh house", this item is highly recommended for musicians and music lovers with good taste for music. 

Intense mid 70's jazz-rock-funk fusion from one of electric guitar's most prolific players serves up what was exciting in that era of adventurous hybrids. If the majority is steeped in somewhat dated production, Coryell provides some counterpoint to the obvious Headhunters-like vibe to keep things engaging.

Tracks Listing

1. Kowloon Jag (5:48)
2. Titus (5:29)
3. Pyramids (5:21)
4. Rodrigo Reflections (4:39)
5. Yin-Yang (4:42)
6. Woman Of Truth And Future (6:06)
7. Ain't This (5:02)
8. Aspects (4:24)

Total Time 41:31

Line-up / Musicians

- Larry Coryell / acoustic & electric guitars
- Mike Mandel/ keyboards, synthesizers
- Terumasa Hino / trumpet, flugelhorn
- John Lee / bass
- Gerry Brown / drums

With:
- Danny Toan / rhythm guitar
- Steve Khan / acoustic guitar
- Mike Brecker / tenor saxophone
- Dave Sanborn / alto saxophone
- Randy Brecker / trumpet
- Mtume (James Foreman) / percussion  

Jaco Pastorius - 2014 "Anthology" - The Warner Bros. Years

Anthology: The Warner Bros. Years is a comprehensive anthology of Jaco Pastorius' output for the label, in 2 CDs, including collaborations with Airto Moreira and Mike Stern, as well as the previously unreleased "Donna Lee" from The Birthday Concert, available for the very first time. Accompanying the discs is a 16-page booklet, featuring a comprehensive essay by Bill Milkowski, author of Jaco: The Extraordinary And Tragic Life Of Jaco Pastorius, and photos by Shigeru Uchiyama.

In 1981, Jaco Pastorius left Weather Report to pursue work with his Word of Mouth Big Band. He released his second solo effort, Word of Mouth under his new contract with Warner Bros.

On December 1st of that year, Jaco celebrated his 30th birthday by hosting a party at a Fort Lauderdale, Florida club. He flew in musicians from the Word of Mouth project to perform, and the event was recorded by Jaco’s friend and engineer Peter Yianilos. Yianilos intended for the recording to be a birthday gift, but it remained unreleased until 1995, when Warner released it on The Birthday Concert.

In 1982, Jaco took his Word of Mouth band on a tour in Japan, which resulted in the release of Invitation in the U.S. by Warner.

Warner has just released an all-new anthology which collects remastered versions of many of the tracks on those three albums, along with some of Jaco’s guest appearances, and a previously unreleased performance of Charlie Parker’s “Donna Lee.”

The two guest appearances include “Nativity,” from percussionist Airto Moreira’s 1977 album I’m Fine, How Are You? and “Mood Swings,” from Mike Stern’s 1986 release, Upside Downside.

Jaco biographer Bill Milkowski contributed the liner notes for the anthology, saying “Through his brilliant innovations…Pastorius liberated his instrument from its traditional role in the background and re-imagined it as a potent solo axe and orchestral tool.”

Material from Jaco Pastorius’s solo career has been compiled many times over. That’s what happens to a musician who meets an untimely death. People want more, but there’s only a finite number of recorded goods. Pastorius recorded plenty of stuff during and after his tenure in the jazz fusion supergroup Weather Report. His legendary status came from him finding a highly specialized niche within the genre, that of a wizard of the fretless bass.

The hit title track from 1976’s Black Market gave a snapshot of Pastorius transforming the low end instrument into, if not a lead instrument, one capable of mighty hooks. Joe Zawinul’s Weather Report soared to new heights with Pastorius and Wayne Shorter in the lineup, but it’s tough to argue whether or not their respective departures resulted in Weather Report losing steam. At any rate, Pastorius’s next move was to wrap up work on an album called Word of Mouth.

This is the starting point of Anthology: The Warner Bros. Years, a collection that only spans three albums. So if you already have copies of Word of Mouth, The Birthday Concert and Invitation, you already have a majority of what Anthology has to offer. What remains are only three tracks of the 22 track double-disc compilation, two of which were previously accounted for on albums where Pastorius was a guest musician. The one not accounted for is a live recording of “Donna Lee”, which is interesting but not as refined as the version heard on Pastorius’s self-titled 1976 record.

Since The Birthday Concert and Invitation are both live albums, the studio tracks are naturally outnumbered on Anthology. One factor that strained the working relationship between Pastorius and Joe Zawinul was Zawinul’s distaste for Pastorius’s showmanship. Watching those old Weather Report shows, he sometimes looked like a rock star trapped inside a jazz band. But sure enough, the crowds as Pastorius’s shows ate it up. You hear it at the end of every live track, the sound of an audience getting pumped up after hearing jazz! With horns too! “Liberty City”, “Soul Intro/The Chicken” and “Invitation” are chock-full of zest, tight auxiliary percussion be damned. “Continuum” and the Weather Report leftover “Punk Jazz” slow the momentum to steady grooves. There is lots of overlap between these two live albums and, for many fans of jazz fusion, picking one version of “Continuum” over another is a matter of apples against oranges.

Proportionately, Word of Mouth is represented just as favorably. Six of its seven songs are here on Anthology, leaving out the 12-minute take of “Liberty City”. And what a brilliantly weird album Word of Mouth was. It begins with a bafflingly fast composition called “Crisis” where Pastorius plays seemingly every note on the neck as the horns scramble for a place to live. “Crisis” doesn’t seem to have a center or a main idea driving it, but it somehow feels like an appropriate opener. His band channel the majesty of the far east for “Chromatic Fantasy” and ram the Beatles’s “Blackbird” through a polyphonic skewer. Both tracks are short and end abruptly, as if someone accidentally sat on the mixing desk. And though Pastorius seemed to be taking a boppier direction in his solo career at this point, “Three Views of a Secret” and “John and Mary” demonstrate that he still had an element of Weather Report-esque fusion in his system.

Anthology: The Warner Bros. Years wraps up with the three outsider tracks mentioned earlier:  “Nativity”, Mood Swings” and “Donna Lee”. “Nativity” comes from percussionist Airto Moreira’s 1977 Warner release I’m Fine, How Are You? and “Mood Swings” is drawn from guitarist Mike Stern’s 1986 album Upside Down. Pastorius’ presence is felt heavily on “Nativity”, a track that swings from ambient world to something with considerably more drive to it. The duet with Mike Stern is some intense straight up jam fusion. The live recording of the Charlie Parker tune “Donna Lee”, the one and only exclusive to Anthology.

If you consider yourself a bass player and you don’t hold Jaco Pastorius in the highest esteem, then we can only presume you’ve never really listened to the man, because he’s one of those guys whose work with the instrument was so unique and groundbreaking that it’s hard to hear it without wanting to drop to your knees and begin recitation of the phrase, “I’m not worthy!”

‘Anthology: The Warner Bros. Years’ is one of many retrospectives of bass genius Jaco Pastorius’ work that have been issued since his tragic death at the age of 35. Containing music from his time with the Warner Bros. label, the vast majority of the album is made up of selections from his sophomore solo studio release ‘Word Of Mouth’ and live albums ‘The Birthday Concert’ and ‘Invitation’.

Among the four tracks which are not from these albums, first up is a live version of ‘Okonkole y Trompa’ from debut album ‘Jaco Pastorius’. This recording comes from the Japanese release ‘Twins I & II’ and stays pretty close to the original as an atmospheric piece featuring some beautiful French horn. ‘Nativity’ from Weather Report and Return To Forever percussionist Airto Moreira’s 1977 album, ‘I’m Fine, How Are You?’, continues in the atmospheric vein before a more upbeat mood is struck on ‘Mood Swings’ from Mike Stern’s ‘Upside Downside’.

While the idea of seeing Jaco in other settings could well provide some interest, if there are only a couple of token examples his work with Joni Mitchell or Pat Metheny would almost certainly lend more insight than the selections here. All three of the tracks here were in fact included on 2003's 'Punk Jazz: The Jaco Pastorius Anthology' alongside some of his work with Mitchell and Metheny as well recordings from the beginnings of Jaco's career in an altogether more cohesive and informative compilation.

Here’s the track listing, to get you further excited about diving into the set:

Disc One

1. “Crisis”
2. “Blackbird”
3. “Chromatic Fantasy”
4. “Word Of Mouth”
5. “Three Views Of A Secret”
6. “John And Mary”
7. “Continuum”
8. “Liberty City”
9. “Soul Intro / The Chicken”
10. “Reza”
11. “Happy Birthday”

Disc Two

1. “Punk Jazz”
2. “Amerika”
3. “Invitation”
4. “Domingo”
5. “Sophisticated Lady”
6. “Fannie Mae”
7. “Eleven”
8. “Okonkole’ Y Trompa”
9. “Nativity” – with Airto Moreira
10. “Mood Swings” – with Mike Stern
11. “Donna Lee” – previously unreleased

Larry Coryell - 1975 [1988] "The Essential Larry Coryell"

When Larry Coryell recorded the sides gathered on this 70-minute CD, fusion was still a new and radical idea -- and the guitarist was one of the adventurers who did more than his part to get the ball rolling. Coryell's diehard followers will be familiar with most of this material, but for novices, The Essential Larry Coryell can serve as a splendid introduction to his Vanguard output. This diverse compilation ranges from 1968's landmark "Stiffneck" (a duet with drummer Elvin Jones that is among the earliest examples of fusion) to the abrasive, Jimi Hendrix-influenced "The Jam with Albert" to the haunting "Spaces (Infinite)," which unites Coryell with another very influential fusion guitarist: John McLaughlin. It's hard to miss Miles Davis' influence on "Yin," a gem underscoring the initial excellence of Coryell's Eleventh House. But even so, there's no mistaking the fact that Coryell was very much a visionary in his own right.

Larry Coryell has had some great musicians around him over the years. I saw him in NYC in the late 60's early 70's. Mike Mandell was on keyboards. Best cut on this album for me is "Scotland." Sax on Scotland is Steve Marcus. Great players on a team bring out the best in each other. That is true on this album. Have not heard much that rises to the level of Scotland from Mandell or Marcus or for that matter from Larry Corryell. Still looking though. It is interesting how much popular music achieves its significance from its context in time and place. Larry Coryell was the early 70's for me.

Though I haven't heard this compilation, I've heard most of the songs on it. This is a great introduction to one of the least known guitar innovators. To put it bluntly, Coryell jams! If you like this album, check out "Coryell", his first album. A must for audiophiles!

Coryell shows the fluidity and passion which put him among the best of the jazz-rock guitarists. Like John McLaughlin, Coryell has a good ear for mesmerizing riffs. Until someone releases his "Barefoot Boy" album, this is the best place to hear him.

The most comprehensive and all you'll ever need Larry Coryell "greatest hits" collection to date.  Pulling all from his most explosive years at Vanguard, this album was released in 1975, the year the label and he split up.  So some tracks date back to 1969 through 1974, although I never knew that 2 songs (acoustic) were cut from the album release.
It is indeed so hard to collect Coryell's best as eclectic as he was, but this release is definitely the best anybody has done to this point and indeed "essential".

2 tracks were cut from the original release to fit onto a single CD: "Improvisation on Robert de Visée's Sarabande" and "Rene's Theme."  Still, there's over an hour of great rock, fusion, jamming, etc., all carried by Coryell's guitar prowess.  When I first popped this disc in and heard "Yin," I thought "oh boy, more fusion," but immediately after that track you get the "Elementary Guitar Solo #5" and things really take off from there.  Only "Are You Too Clever" has vocals, and while not anything great, they don't really detract from the song.

And the cover art is so cool.

Larry, his two sons and me :-)


Tracks Listing

1.Yin ( with The Eleventh House ) ( 6:02 )
2. Elementary Guitar Solo # 5 ( 6:51 )
3. Scotland I ( 6:31 )
4. The Jam With Albert ( 9:19 )
5. Stiffneck ( 7:13 )
6. Foreplay ( 8:15 )
7. Lady Coryell ( 6:32 )
8 Spaces ( Infinite ) ( 9:18 )
9. Are You Too Clever ( 5:28 )
10. After later ( 5:32 )

Track listing above is for 1988 CD re-issue
Total Time: 70:01

Original Vynil LP also includes :
1. Improvisation On Robert De Vissee`s Sarabande ( 5:19 )
2. Rene`s Theme ( 4:07 )
Total Time: 80:00

Line-up / Musicians

- Larry Coryell / guitar, all
- Randy Brecker / trumpet, track 1
- Mike Mandel / piano, synthesiser tracks 1,2,3,5,9
- Danny Trifan / bass, track 1
- Alphonse Mouzon / drums, track 1
- Chuck Rainey / bass, track 2
- Bernard Purdie / drums, tracks 2, 4
- Steve Marcus / soprano saxophone, tracks 3,6,9
- Mervin Bronson / bass, 3,6,9,10
- Harry Wilkinson / drums, 3,6,9,10
- Albert Stinson / drums track 4
- Elvin Jones / drums, track 5
- Bob Moses / drums, track 7
- Mahavishnu John McLaughlin / guitar track 8 and track 2 on LP
- Miroslav Vitous / double bass, track 8 and track 2 on LP
- Chick Corea / piano, track 8 and track 2 on LP
- Ralph Towner / guitar, track 1 on LP *
- Glen Moore / bass, track 1 on LP *
- Colin Walcott / Tabla, congas on track 1 on LP *

* Name appears on original LP artwork which was also used for
CD reissue but does not appear on CD     

Miles Davis - 2016 "Freedom Jazz Dance" - The Bootleg Series Vol. 5

Columbia/Legacy Recordings Released Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5, a 3CD Set featuring 2+ Hours of Previously Unreleased Studio Recordings from 1966-1968, Newly Mixed and Mastered in High Resolution Audio

Latest Volume of Acclaimed Miles Davis Bootleg Series Celebrates the 50th Anniversary of Landmark Miles Smiles Album with In-Depth Access to Full Session Reels including Rehearsals, Partial and Alternate Takes, Studio Conversation & More.

A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more.

Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).

“Circle,” “Orbits,” “Dolores” and “Freedom Jazz Dance” were recorded at the historic Columbia 30th Street Studio in New York City on October 24, 1966. “Gingerbread Boy” and “Footprints” were recorded at the same location the following day, October 25, 1966. Full session reels – every second of music and dialogue – that were taped for the Miles Smiles album are included. Prior to this the only material ever released from the classic album were the master takes for the six songs. Never before have the full session reels for an entire Miles Columbia album been released, here providing an in-depth look at the studio process of one of jazz’s greatest bandleaders, and arguably the greatest small jazz group ever.

“Masqualero”, heard on the set in a previously unreleased alternate take, was recorded at Columbia 30th Street Studio on May 17, 1967. “Water Babies” and “Nefertiti” were recorded there on June 7, 1967. “Fall” was cut at the Columbia studio on July 19, 1967. Complete session reels for “Water Babies”, “Nefertiti” and “Fall” are included in the box.

“Country Son”, heard in a unique previously unreleased rhythm section only rehearsal, was recorded at Columbia Studio B in New York City on May 15, 1968.

Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5 box set was produced for contemporary release by the multi Grammy Award winning team of Steve Berkowitz, Michael Cuscuna and Richard Seidel. The album was mixed from the original 4-track tapes and mastered by Grammy Award winning engineer Mark Wilder, Battery Studios, New York City, July 2016.

In addition to more than two hours of previously unreleased studio sessions, the collection includes “Blues in F (My Ding),” a rare and unique home recording featuring Miles, demonstrating on piano a new blues he was working on to Wayne Shorter.

Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5 includes revelatory behind-the-scenes liner notes penned by Grammy Award-winning Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, as well as new interviews with Quintet members Ron Carter and Wayne Shorter.

Sourced from original four-track analog session reels and master tapes transferred and mixed in high resolution at 24-bit/192 kHz, Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5 offers a profound and intimate look at Miles’ creative process in the studio, providing insight into the bold new musical directions Davis and members of his quintet would take as the 1960s drew to a close.

If ever a band of Miles Davis' deserved the high-intensity inspection/dissection represented by The Bootleg Series Vol. 5, it is his second great quintet. With that man with the horn as the great catalyst, the rapport between pianist Herbie Hancock, saxophonist/composer Wayne Shorter, bassist Ron Carter and drummer Tony Williams is virtually unparalleled in the history of jazz, but to hear the machinations behind their creations here is almost as fascinating as the 'finished product' itself (liner notes rightly suggest use of headphones to hear all the spoken interludes).

One of the major revelations here is that, much more often than not, the working recordings lead to much shorter master takes, illustrations of the truism 'less is more.' The freedom of give and take, verbal as well as instrumental, between the five musicians (and often including producer Teo Macero), is completely unself-conscious, and fearless to boot: perhaps because there are no lack of ideas, there is no apprehension about cutting out parts and condensing longer performances to their essence.

Not surprisingly, one major exception to this working rule of thumb is Shorter's "Footprints." One of his most famous compositions and a regular part of the band's repertoire, unlike much of the material which would appear complete on Miles Smiles,(Columbia, 1967), Nefertiti (Columbia, 1968)and Water Babies (Columbia, 1976), the quintet offers mere sketches of the number: rather than allows itself the luxury of deep exploration of its melodic, harmonic and rhythmic possibilities—relegating that to the concert stage—Davis & co barely scratch the surface while in the studio. It's almost as if they're collectively aware there can be no definitive version.

Rather than the plethora of multiple takes of the same tunes as appear on The Complete Jack Johnson Sessions (Legacy 2003), the preponderance of studio chatter and instrumental experimentation as unreleased content may limit the attraction of Freedom Jazz Dance. Most appropriately, the title tune does benefit from the addenda as it's a cover of an Eddie Harris tune made popular in a much more accessible version at the time of theses sessions beginning in 1966. Otherwise the concept of The Bootleg Series Vol. 5 is a especially focused and rightly so: the work of this band in a live setting already covered in some detail by the inaugural entry in this archival series Live in Europe 1967: The Bootleg Series Vol. 1 (Legacy, 2011) and Live at the Plugged Nickel (Legacy, 1995)

Colorfully packaged in a three-CD digi-pak, a booklet with all the pertinent recording information, in consummate detail, accompanies Ashley Kahn's informative essay; the esteemed jazz scholar provides a similarly accurate timeline of the dates and times involved in these session, besides commentary from principals Carter and Shorter. And the author's own presentation communicates the eye-opening delight he himself experienced in hearing these recordings, a sensation most all other listeners will share as well, and which, judging from the camaraderie among these great musicians, has its source in the relationship between the five players themselves.

Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5

Disc 1
1. Freedom Jazz Dance (Session Reel)
2. Freedom Jazz Dance (Master Take)
3. Circle (Session Reel)
4. Circle (Take 5)
5. Circle (Take 6)
6. Dolores (Session Reel)
7. Dolores (Master Take)

Disc 2
1. Orbits (Session Reel)
2. Orbits (Master Take)
3. Footprints (Session Reel)
4. Footprints (Master Take)
5. Gingerbread Boy (Session Reel)
6. Gingerbread Boy (Master Take)
7. Nefertiti (Session Reel)
8. Nefertiti (Master Take)

Disc 3
1. Fall (Session Reel)
2. Fall (Master Take)
3. Water Babies (Session Reel)
4. Water Babies (Master Take)
5. Masqualero (Alt. Take 3)
6. Country Son (Trio Rehearsal)
7. Blues in F (My Ding)
8. Play Us Your Eight (Miles Speaks)

Personnel:

Miles Davis :trumpet;
Wayne Shorter: tenor saxophone;
Herbie Hancock: piano;
Ron Carter: bass;
Tony Williams: drums.

Larry Coryell and The Eleventh House - 1974 [1978] "Live At Montreux"

The Eleventh House was an important jazz fusion group of the 1970s, led by the guitarist Larry Coryell. The band was formed in 1973 and disbanded in 1976. The Eleventh House, alongside bands such as The Mahavishnu Orchestra, Weather Report and Return to Forever, is considered as one of the pioneering jazz rock bands of the mid-1970s. Charter members of the Band beside Larry Coryell were Randy Brecker trumpet, Mike Mandel (keyboards), Danny Trifan (bass) and Alphonse Mouzon on drums.
The band recorded their first recording entitled Introducing Eleventh House with Larry Coryell in 1973, followed by Live In Montreux and Level One in 1974. A bootleg live recording was also released in 1975 entitled Live in Europe.
In 1974, Brecker was replaced by trumpet player Michael Lawrence and Trifan was replaced by bassist John Lee; after drummer Mouzon left the band in 1975, Gerry Brown replaced him. Their last incarnation in 1976 saw Japanese trumpeter Terumasa Hino replace Lawrence in a more horn-driven funk context. The Aspects album along with the Brecker Brothers as guests was the result of this collaboration.
1977 saw Coryell and Mouzon reunite with a more rock guitar oriented fusion band. Billed as the Coryell/Mouzon Band it also featured John Lee on bass and Philip Catherine on second guitar. They released one notable album entitled Back Together Again on Atlantic Records. They later performed in various rock or jazz capacities with alternating members including bassist Miroslav Vitouš until finally disbanding.
Eleventh House members Coryell, Mouzon, Mandel and Lee recorded a rather commercial recording in 1984 called The Eleventh House.
In 1998, the Eleventh House reunited and toured all over the world until the end of 1999. By then the Eleventh House Reunion Band consisted of Coryell on guitar, Brecker on trumpet, Richard Bona or Jeff Berlin on bass and Mouzon on drums. In 1999 original member John Lee joined the band on some occasions as did Coryell's son, Julian Coryell, on second guitar and either trumpeter Shunzo Ohno or Donald Harrison on saxophone replaced Brecker.

Guitarist Larry Coryell's Eleventh House was a particularly interesting fusion group of the mid-1970's for, in addition to the leader, keyboardist Mike Mandel, bassist Danny Trifan and the dynamic drummer Alphonse Mouzon, the unit featured trumpeter Michael Lawrence. Their appearance at the 1974 Montreux Jazz Festival makes for a rather brief CD (under 34 minutes) but has its moments of interest. Coryell starts the proceedings by playing his unaccompanied acoustic guitar on a classical piece, that number is followed by four passionate group originals full of fire and dated electronics, and the set finishes with the strongest piece, "The Eleventh House Blues." Although the music is not essential nor particularly innovative, the mixture of straightahead elements with prime period fusion is often stimulating. 

OMG- the very greatness of this guitarist stands along John McLaughlin, & so many other guitarists. He was on the cutting edge of jazz-fusion. So many great songs. Add Alphonse Mouzon on drums, Mike Mandel on keyboards, a bass, & Trumpet & you have a "cool" fusion band.Joyride is 9+ minutes & "The Eleventh House Blues is 8 minutes. Great music for jazz fusion enthusiasts. So much great music comes & goes in a flash. But when you find it, it is a great feeling. I had older lps, so on one day I got 6 of this guitar masters CDs . 

This Cd is really another Fusion classic and it ranks up to the first 11th House album - only this time it's played live with MUCH power. All members are on the very top, Mike Lawrence doing a great job, Larry Coryell plays great and with lots of powe, he especially sounds great on "11th House Blues" where he shows his great blues feeling. Alphonse fast and with lots of power , but he never overplays - incredible playing.
A great album overall,but unfortunatelly the running time is quite short...anyway, get it!

Tracks Listing

1. Improvisation On Villa-Lobos (Prelude No 4 In E Minor) (3:07)
2. Tamari (4:31)
3. Joyride (9:30)
4. Rasputin (4:11)
5. Song For A New York Rainmaker (4:24)
6. Eleventh House Blues, The (8:06)

Total Time 36:11

Line-up / Musicians

- Larry Coryell / guitar
- Mike Mandel / keyboards
- Alphonse Mouzon / drums
- Michael Lawrence / trumpet
- Danny Trifan / bass
Releases information

Recorded at the Montreaux Jazz and Pop Festival, Montreaux, Switzerland on July 4, 1974 

Oscar Peterson Trio - 1991 "Live at the Blue Note"

Live at the Blue Note is a 1990 live album by Oscar Peterson.

Pianist Oscar Peterson had a reunion with guitarist Herb Ellis and bassist Ray Brown at a well-publicized get-together at New York's Blue Note in March 1990. The trio (his regular group of the late '50s) was augmented by Peterson's late-'60s drummer Bobby Durham for spirited performances. Rather than using their complex arrangements of the past, the pianist and his alumni simply jammed through the performances and the results are quite rewarding. On the first of four CDs released by Telarc, the quartet performs "Honeysuckle Rose," a ballad medley, three of the pianist's originals and "Sweet Georgia Brown." As this and the other CDs in the series show, the magic was still there. 

In March of 1990, Oscar Peterson played a two-week engagement at the Blue Note in New York with a group billed as the Oscar Peterson Trio, even though it contained four players. Peterson was on piano, Ray Brown was on bass, Herb Ellis was on guitar and Bobby Durham was on drums. The billing was no doubt intended to capitalize on the fact that Peterson, Brown and Ellis had been one of the most popular jazz trios of the 1950s. The three had rarely played together between 1958 and this 1990 New York gig.

Telarc, a successful classical label just breaking into jazz at the time, recorded the last three nights of the engagement. Over the next two years, music from each night was released on individual CDs: The Legendary Oscar Peterson Trio Live at the Blue Note, Saturday Night at the Blue Note and Last Call at the Blue Note. Telarc took one last pass in 1993, with Encore at the Blue Note, a selection of “other fine moments” from the three nights. The first two albums won Grammy trophies. In late 2004, Telarc reissued this material in a four-CD set. You will look in vain for previously unissued tracks or remastering. But you get four CDs for the price of two, a very slick slip case (all four-CD sets should be packaged this way) and new liner notes by Alyn Shipton, jazz critic for the Times of London.

On Oscar Peterson, there are two broad critical schools of thought. The first (probably more widely held) is that Peterson is a virtuoso who deserves to be mentioned in the same sentence with Art Tatum. The second is that Peterson is a virtuoso, and that it is difficult to care very much about this fact. If it is the second perspective that holds sway in this review, it is hopefully not without respect for the first. Opinions about Peterson’s music are even more subjective than most judgments about art. If his works for you, then you are going to love this set, because it contains almost five hours of torrential floods of pure Peterson. You are going to love tunes like “Sushi” and “Blues Etude,” which prove that Peterson, at 65, could play as fast as any pianist who ever lived. You are going to marvel at his command of phrasing, his harmonic knowledge and his embodiment of so much jazz piano history. You are going to be dazzled by the hook-up with guitarist Herb Ellis, especially given the 32-year hiatus in their musical relationship.

But if Peterson does not move you, then you are likely to find his fast pieces rather like musical Formula One car races, complete with hairpin turns. You will find the rewards of the dazzling fours between Peterson and Ellis more athletic than aesthetic. You will have reservations about ballads like “It Never Entered My Mind” and “A Child Is Born,” believing that, for a jazz improviser, these songs should be occasions for self-revelation, but that in Peterson’s hands they are elegant, flawless and detached.

This 1990 recording reunites Oscar Peterson's nonpareil 1950s trio of Ray Brown and Herb Ellis, fleshing out the lineup with drummer Bobby Durham from the great pianist's '60s group. Though all the principals were in their sixties at the time of the recording, their performances are as tight and fleet as ever, with Ellis sounding especially inspired. The ballads "I Remember You," "A Child Is Born," and "Tenderly" demonstrate their mature, melodic empathy, while "Honeysuckle Rose" and "Sweet Georgia Brown" are the type of barn burners for which Peterson and company were famous. 

Track listing

1.    Introductions – 1:56
2.    "Honeysuckle Rose" (Andy Razaf, Fats Waller) – 8:50
3.    "Let There Be Love" (Lionel Grant, Ian Rand) – 12:00
4.    "Peace for South Africa" (Oscar Peterson) – 10:46
5.    "Sushi" (Peterson) – 8:06
6.    "I Remember You"/"A Child Is Born"/"Tenderly" (Johnny Mercer, Victor Schertzinger)/(Thad Jones, Alec Wilder) – 7:17
7.    "Sweet Georgia Brown" (Ben Bernie, Maceo Pinkard, Kenneth Casey) – 8:21
8.    "Blues for Big Scotia" (Peterson) - 6:08

Personnel

    Oscar Peterson – piano
    Herb Ellis – guitar
    Ray Brown – double bass
    Bobby Durham - drums

King Crimson - 2003 "The Power To Believe"

The Power to Believe is the thirteenth studio album by English band King Crimson, released in February 2003 by record label Sanctuary. It is a companion to the preceding mini-album Happy With What You Have to Be Happy With (2002).

Both Level Five and Happy With What You Have to Be Happy With acted as work-in-progress reveals for the album, which Fripp described as "the culmination of three years of Crimsonising". The album incorporated reworked and/or retitled versions of "Deception of the Thrush" ("The Power to Believe III") and four of the EP tracks, plus a 1997 Soundscape with added instrumentation and vocals ("The Power to Believe: Coda").

The Power to Believe (2003) marks the return of King Crimson for the group's first full-length studio release since ConstruKction of Light (2000). While it draws upon material featured on the live Level Five (2001) and studio Happy with What You Have to Be Happy With (2002) extended-play discs, there are also several new sonic sculptures included. Among them is the title track, which is divided into a series of central thematic motifs much in the same manner as the "Larks' Tongues in Aspic" movements had done in the past. This 21st century schizoid band ably bears the torch of its predecessors with the same ballsy aggression that has informed other seminal King Crimson works -- such as In the Court of the Crimson King (1969), Red (1974), and more recently THRAK (1995). This incarnation of the Mighty Krim includes the excessively talented quartet of Adrian Belew (guitar/vocals), Robert Fripp (guitar), Trey Gunn (Warr guitar/Warr fretless guitar), and Pat Mastelotto (percussion). Under the auspices of Machine -- whose notable productions include post-grunge and industrial medalists Pitchshifter and White Zombie -- the combo unleashes a torrent of alternating sonic belligerence ("Level Five") and inescapable beauty ("Eyes Wide Open"). These extremes are linked as well as juxtaposed by equally challenging soundscapes from Fripp on "The Facts of Life: Intro" as well as Belew's series of "The Power to Believe" haikus. The disc is fleshed out with some choice extended instrumentals such as "Elektrik" and "Dangerous Curves," boasting tricky time signatures that are indelibly linked to equally engaging melodies. Both "Happy With What You Have to Be Happy With" and "Facts of Life" stand out as the (dare say) perfect coalescence of Belew's uncanny Beatlesque lyrical sense with the sort of bare-knuckled, in your face aural attack that has defined King Crimson for over three decades. If the bandmembers' constant tone probing is an active search to find the unwitting consciousness of a decidedly younger, rowdier, and more demanding audience, their collective mission is most assuredly accomplished on The Power to Believe -- even more so than the tripped-out psychedelic prog rock behemoth from whence they initially emerged.

For all his scholarly quips and curmudgeonly demeanor, King Crimson founder and guitarist Robert Fripp has gone to great pains to keep his feet planted firmly on the ground. Unlike some of his first-generation progressive rock peers of the late 60s and early 70s, he never allowed his band to leap into the abyss of new age fantasy or wanky tech-pomp. At all points during Crimson's many-membered lifetime, Fripp has been the model of humble workmanship: You can usually count on him to 1) hate the music business, 2) refuse to rest on his laurels, and 3) practice his guitar. It makes sense that he wouldn't expect much pleasure from record sales or a cult of fans as obsessive as they come-- after all, it's the musician's job to strive for excellence in the face of commerce and compromise.

And it shouldn't bother him that during the course of his 35-year, single-minded crusade he's left himself on a desert island with only his comfortable legion of fans and bandmates to keep him company. It's been a few years since he was painting London red with Brian Eno, Peter Gabriel and David Bowie, and these days Fripp mostly celebrates advanced middle age with his wife, English garden and the latest version of his storied band. Sure, his records sound more than a little like shadows (albeit of the highest quality) of his classic past efforts, but it's not as if rock history is littered with grandfatherly figures re-inventing the wheel. "Hey man, lay off Fripp-- King Crimson is the best prog band ever!" I know it is, I do; I really wish I could get past the irony of a progressive rock band being unable to progress.

The Power to Believe is the band's 13th studio LP, and the third featuring the current lineup of Fripp, Adrian Belew, Trey Gunn and Pat Mastelotto. Last year, the buzz about this record was that it was going to be the result of Crimson's ear to xFC-metal, and having toured with Tool-- in fact, the working title was Nuovo Metal. Last year's Happy with What You Have to Be Happy With EP offered some preliminary tastes of this direction, as did the deluge of recent live releases, including 2001's Level Five, and the Projekcts albums. I'm happy to report that Power is much less awful than that EP, and more consistently interesting than the sprawling live CDs. That said, there is an omnipresent residue of stagnancy that has covered just about everything King Crimson have released since 1995's Thrak, and this record is no less stained.

Robert Fripp and the ever-changing lineup of King Crimson continue to fascinate and challenge with The Power to Believe. The album’s opener is an a cappella version of the title track sweetly delivered by Adrian Belew that’s reprised three times later: once with jangling Eastern percussion and a soaring guitar; once as a sci-fi extravaganza that harkens to Crimson's glorious past; and finally as an a cappella closer. In between lies the disciplined, varied, and often mind-blowing playing one expects from these accomplished musicians. "Facts of Life" is dirty prog blues, while "Dangerous Curves" is like a low-key "Kashmir" until it rises to a metallic crescendo. Then there's the sarcastic "Happy with What You Have to Be Happy With," which finds Belew berating younger outfits for their lack of artistic ambition.

"The only reward the musician receives is music: The privilege of standing in the presence of music when it leans over and takes unto its confidence. As it is for the audience. In this moment everything else is irrelevant and without power. For those in music, this is the moment when life becomes unreal."
                                                                                --Robert Fripp, 1992

Tracks Listing

1. The Power to Believe I: A Cappella (0:44)
2. Level Five (7:17)
3. Eyes Wide Open (4:08)
4. Elektrik (7:59)
5. Facts of Life: Intro (1:38)
6. Facts of Life (5:05)
7. The Power to Believe II (7:43)
8. Dangerous Curves (6:42)
9. Happy With What You Have to Be Happy With (3:17)
10. The Power to Believe III (4:09)
11. The Power to Believe IV: Coda (2:29)

Total Time: 51:11

Line-up / Musicians

- Adrian Belew / guitar, vocals
- Robert Fripp / guitar
- Trey Gunn / Warr fretted & fretless guitars
- Pat Mastelotto / drums & drum programming

With:
- Tim Faulkner / voice source (4)
- Bill Munyon / sound design (additional)

The Doors - 1978 [1995] "An American Prayer"

An American Prayer is the ninth and final studio album by the Doors. In 1978, seven years after lead singer Jim Morrison died and five years after the remaining members of the band broke up, Ray Manzarek, Robby Krieger, and John Densmore reunited and recorded backing tracks over Morrison's poetry (originally recorded in 1969 and 1970). Other pieces of music and spoken word recorded by the Doors and Morrison were also used in the audio collage, such as dialogue from Morrison's film HWY: An American Pastoral and snippets from jam sessions.
The album received mixed reviews and still divides critics, yet it has managed a platinum certification in the US. When the album was originally released, longtime Doors' producer Paul A. Rothchild labeled the album a "rape of Jim Morrison". Rothchild claimed that he had heard all of the reels of master tapes from both the 1969 and the 1970 poetry sessions, insisting that the three remaining Doors failed to realize Morrison's original intent for an audio presentation of the poetry. Morrison himself, prior to leaving for Paris, had approached composer Lalo Schifrin as a possible contributor for the music tracks meant to accompany the poetry, with no participation from any of the other Doors members. In addition, he had developed some conception of the album cover art work by January 1971, and was in correspondence with artist T. E. Breitenbach to design this cover in the form of a triptych (a three-paneled painting with various images embedded in each panel). However, John Haeny, who recorded the original session tapes with Morrison in 1970 and safeguarded them before the project was resurrected as An American Prayer, insisted that the album "was made by those people who were closest to Jim, both personally and artistically" and "everyone had the best intentions", stating: "Jim would be pleased. Jim would have understood our motivation and appreciated our dedication and heartfelt handling of his work.

Moody and mesmerizing, An American Prayer is an interesting album of Jim Morrison reading his poetry over the Doors' music. An American Prayer was finished by the remaining members of the Doors after Morrison's death and finally released in 1978 (it was remastered and re-released in 1995 with bonus tracks). Those familiar with the lyrics of the Doors will not be surprised, but others may be put off because Morrison is unafraid to use crude imagery and talk unabashedly about taboo topics such as sex and religion. Although many dismiss his poetry as simplistic random musings, Morrison is a gifted lyricist with a vivid imagination. The album also demonstrates how the other musicians in the band create a mood that breathes life into Morrison's dark, twisted visions. The music excerpts of "Peace Frog" and "Wasp (Texas Radio and the Big Beat)" provide a welcome air of familiarity, and the definitive live version of "Roadhouse Blues" in the middle of the album provides a nice respite from the barrage of stories and metaphors. However, An American Prayer must be listened to in one sitting to be fully appreciated, preferably at nighttime when one is alone and can devote full attention to the listening experience. This album is not for everyone, but is a must-own for Doors completists and fans of Jim Morrison's poetry.

It was Robby’s idea. Jim had been haunting him for a while. Maybe it wasn’t a true haunting in the classic sense or definition but Robby had been having dreams of Jim Morrison reciting his poetry. Robby called engineer John Haeny to see if he knew where the tapes were that Jim had recorded on his 27th birthday on December 8th, 1970.  Haeny still had the tapes and the first step was taken in what would be an album of Jim Morrison’s poetry known as “An American Prayer”.

An American Prayer: The Cover

The Dec. 8th, 1970 recordings were made with an eye towards Jim Morrison recording a solo album of his poetry. Morrison had secured a contract with Elektra founder Jac Holzman for the album and he wanted to start recording it. He invited Frank and Kathy Lisciandro, Alain Ronay, and Florentine Pabst to the studio for the recording. Haeny gave Morrison a bottle of Old Bushmills whiskey (on the “An American Prayer” CD on the bonus track, “Ghost Song”, the tape was still rolling and Morrison says, “one more thing”, then you can hear him take a swig off the bottle; you have to turn the volume up to hear it), and the session lasted approximately four hours. If the scene sounds familiar Oliver Stone used it in his movie “The Doors”. Recordings from the March 1969 recording session were also used but by the 1970 “birthday sessions” Morrison had revised a lot of the previously recorded poems.

The surviving Doors recorded “An American Prayer” using (besides Morrison’s poetry sessions) materials from The Doors catalog, recordings of live Doors shows and sound effects. They recorded new music using much of the poetry, editing and splicing Morrison’s voice in and around the music.

“An American Prayer” was released in November of 1978* and roughly outlines the life of Jim Morrison from birth (‘wake up!’), childhood, teenage years and coming of age, to being a rock star/sex symbol, and the elegiac poem “An American Prayer”. “An American Prayer” was released to generally good reviews.  Although it didn’t get a lot of radio play because of Morrison’s use of expletives, it was the only Doors album nominated for a Grammy and at 250,000 copies sold upon its release makes it the largest selling spoken-word album.

All the members of The Doors ‘family’ thought “An American Prayer” a fitting tribute to Morrison and his wish to be regarded as a poet. The lone exception was longtime Doors producer Paul Rothchild, who called “An American Prayer” “the rape of Jim Morrison” and compared it to “taking a Picasso and cutting it into postage stamp-sized pieces and spreading it across a supermarket wall”. Rothchild also cited Morrison’s intentions of producing a poetry album as a solo project, separate from The Doors, and without rock music using more classical orchestrations or with avant garde orchestrations such as with Lalo Schifrin (who did the soundtrack to 60’s classics “Cool Hand Luke” and “Mission Impossible”). Part of Morrison’s vision for his poetry album was the commissioning of a triptych by artist T.E. Breitenbach, it shows the elements Morrison thought important, a moonlit beach with naked couples running around, a city at noon “insane with activity,” and a desert scene at night seen through the windshield of a car.

Tracks Listing:

- Awake -
1. Awake (0:36)
2. Ghost Song (2:51)
3. Dawn's Highway (1:22)
4. Newborn Awakening (2:26)
- To Come Of Age -
5. To Come Of Age (1:02)
6. Black Polished Chrome (1:08)
7. Latino Chrome (2:15)
8. Angels And Sailors (2:47)
9. Stoned Immaculate (1:33)
- The Poet's Dreams -
10. The Movie (1:36)
11. Curses, Invocations (1:58)
- World On Fire -
12. American Night (0:28)
13. Roadhouse Blues (5:53)
14. The World On Fire (1:07)
15. Lament (2:19)
16. The Hitchhiker (2:16)
- An American Prayer -
17. An American Prayer (3:04)
18. Hour For Magic (1:18)
19. Freedom Exists (0:20)
20. A Feast Of Friends (2:11)

Total Time 38:28

Bonus tracks on 1995 CD remaster:
21. Babylon Fading (1:40)
22. Bird Of Prey (1:04)
23. The Ghost Song (5:16)

Line-up / Musicians

- Jim Morrison - vocals, spoken word (recorded on February 9, 1969 and December 8, 1970)
And:
- Ray Manzarek / keyboards, piano bass
- Robby Krieger / guitars
- John Densmore / drums

With:
- Arthur Barrow / synth programming (10)
- Jerry Scheff / bass (20)
- Bob Glaub / bass (20)
- Reinol Andino / percussion (10)