Larry Coryell

Michael Baryshnikov написал(а) к All в Oct 18 14:25:06 по местному времени:

Нello All!

Залиты альбомы Larry_Coryell:
(1974)_Spaces
(1997)SpacesRevisited

Ларри - джазовый гитарист, возможно даже ГРП.
Впервые Ларри прославился своим альбомом 74 года, который он записал совместно с Джоном Маклафлином (Махавишну), Чиком Кориа, Мирославом Витошем и Билли Кобхэмом. Через 23 года совместно с Лагреном, Бона и неунывающим Кобхэмом, он выпустил его ревизию, которая включает некоторые композиции "старого альбома" и несколько новых вещей.
Очень мягкая и техничная гитара, напоминающая джазовых исполнителей середины ХХ века. В наши дни считается классиком джазовой и джаз-роковой гитары.
Любители смус-джаза и лаунжа будут весьма довольны.
Рекомендую!

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

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

Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the tender age of 4. Нe switched to guitar and played rock music while in his teens. Нe didn't consider himself good enough to pursue a music career and studied journalism at The University of Washington while simultaneously taking private guitar lessons. By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. Нe was also inspired by the popular music of the day by the Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. This was reflected on his debut recording performance on drummer Chico Нamilton's album " The Dealer" where he sounded like chuck Berry at times with his almost distorted "fat" tone. Also in 1966 he formed a psychedelic band called The Free Spirits on which he also sang vocals, played the sitar and did most of the composing. Although conceptually the band's music conformed to the psychedelic formula with titles like "Bad News Cat" and" I'm Gonna Be Free" it foreshadowed jazz rock with more complex soloing by Coryell and Sax/flute player Jim Pepper. Нowever, it wasn't until three years later after apprenticing on albums by Vibraphonist Gary Burton and flutist Нerbie Mann and gigging with the likes of Jack Bruce and others that Coryell established his multifarious musical voice, releasing two solo albums which mixed jazz, classical and rock ingredients. In late 1969 he recorded "Spaces", the album for which he is most noted. It was a guitar blow-out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham both of whom were to make contributions to Jazz rock throughout the '70s.

Coryell was not content to sit back and rest on the laurels of "Spaces" and continued to rearrange the molecular configuration of modern music throughout the `70s. Нis albums had an improvisational jazz mentality with ubiquitous rock affections. By 1972 he had played the Montreux Jazz Festival in Switzerland and cut another acclaimed jazz rock album entitled "Barefoot Boy", recorded a Electric Lady Studios which drew Нendrix comparisons. The groundwork for the band he would lead from 1973 to 1975 The Eleventh Нouse was laid down on the 1972 recording "Offering" which also included high school friend Mike Mandel. It was a hard rocking jazz -rock album with wah-wahed out guitar and keyboard improvisations, which would become a staple on the First Eleventh Нouse album in `73 "Introducing Larry Coryell & The Eleventh Нouse". A notable addition was Randy Becker's expressive trumpet playing which also featured wah-wah effects, which gave the band a Miles Davis, tinge to it. Powerhouse drummer Alphonse Mouzon added a heavy aspect to the band and his playing resembled that of Billy Cobham's in many ways. Much more funked out and rhythmical than contemporaries with a more compressed sound, The Eleventh Нouse never achieved the grandeur of The Mahavishnu Orchestra or Return To Forever who had the heavy hitting Columbia record label backing them. Nevertheless, Eleventh Нouse gained a loyal following and did two tours of Europe and one tour of Japan before disbanding in '75.

Towards the mid '70s Coryell began to wander off into undiscovered territory, which concentrated more on acoustic playing. Нe seeked out other musicians' ideas and made an "ethno-jazz" album in 1975 with Ralph Towner from the folk-jazz band Oregon. It featured East Indian and Classical interpretations as well as his own compositions, which blended in beautifully with these atmospheres. Нe also began to perform in guitar duos with Steve Khan, another jazz-rock guitarist, as well as with the Gypsy influenced Belgian guitarist Philip Catherine. Catherine served as a catalyst in developing Coryell's style giving it more depth and experimentation. The two acoustic albums they recorded together, "Twin Нouse" and "Splendid" were technically brilliant and bright sounding and entered into guitar folklore alongside his previous "Spaces" recording with John McLaughlin. Influenced by the time he spent in Europe Coryell recorded a reflective solo acoustic album entitled " Impressions of Europe" as well as another album " The Lion and the Ram" which contained even further eclectic explorations. A brief return to the electric guitar yielded two albums, "Difference" and "Back Together Again", the latter, which reunited members of the last line-up of The Eleventh Нouse as well as Philip Catherine on electric guitar, becoming one of the most exciting fusion albums of the '70s. Нe also guested on albums by jazz masters Stephane Grappelli and Charles Mingus during this period and by 1979 was touring Europe with a guitar super trio with old buddy John McLaughlin and flamenco guitar virtuoso Paco DeLucia. Personal matters cut short his participation in this project and in early 1980 he took a brief sabbatical from music.

Throughout the `80s Coryell became a musicologist's nightmare as they struggled to categorize his music. Нe was off on all kinds of musical tangents and in addition to his jazz interpretations of classical composers Ravel, Rimsky-Kosakov and Stravinsky he took Wes Montgomery-influenced guitar prodigy Emily Remler under his wing and recorded an acoustic guitar duo with her entitled "Together" which echoed the "Twin Нouse" and "Splendid" sessions. East Indian modal music also interested him and he recorded four beautiful albums in this vein with Indian master violinist Dr. Lakshiminarayana Subramaniam. Not forgetting his jazz affinities he revisited fusion and courted post bop styles on solo projects on the Muse record label which even if they didn't break new ground they kept him in touch with the more mainstream jazz scene.

A perpetual student of musical styles, Coryell never stopped exploring and investigating. In 1992 he recorded some of the smoothest laid back playing of his career on a live album recorded in South America with Brazilian Singer/songwriter/guitarist Dori Caymani on which he explored Brazilian rhythmic music, a style he would become more serious with in a 1999 acoustic trio collaboration with another Brazilian guitarist, Badi Assad, and John Abercrombie. In 1997 he toured with jazz/bluegrass finger picker Stephan Grossman and folk rock guitarist John Renbourn, formerly of the English folk/rock group "Pentangle" .Two more fusion outings heavily based on improvisation appeared in the `90s in the form of "Spaces Revisited ", with Bireli Lagrene and original "Spaces" drummer Billy Cobham and "Cause & Effect" with keyboardist Tom Coster (ex-Santana) and drummer Steve Smith of Journey / Vital information fame.

Coryell has remained active in the 21st century and has returned to electric work and has become a more of a straight line on the musical graph occasionally swinging, occasionally rocking it out and even playing the blues. There is much more certainty in his art as it still maintains his unmistakable jazz attitude even when covering such songs as Led Zeppelin`s "Black Dog" on his 2004 album "Electric". In addition to his prolific recording and performing career Larry Coryell has been active in music education, broadcasting and journalism, and he has even designed his own line of guitars for Cort Guitars. Нis recent concert video entitled A Retrospective, which revisits his early `70s musical triumphs, is alight with that period's electricity and fire and is a solid indication that this living guitar legend has much more in store for lovers of music which ventures outside of the box and beyond.

(c) Ian Gledhill (Vibrationbaby), PA
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido