Coryell's playing was far more varied than a lot of fans know, and he was doing a great deal of this kind of playing in the late 1960's. Tone cluster guitar playing was not solely invented by Sonny Sharrock. Check out Coryell's playing on Mike Mantler's Communications 11 (1968) or Barefoot Boy, or records with Wolfgang Dauner for example. As a matter of fact, players like Gabor Szabo, Volker Kriegel, Ray Russell, James Blood Ulmerand Keith Rowe were trying to find ways to integrate the innovations of musicians like Cecil Taylor, Ornette Coleman, late Coltrane, etc.had pioneered. This was a foray into free jazz guitar playing, which Coryell could cover easily. The great Walt Dickerson was doing similar things on vibes. Even John McLaughlin would occasionally move in this direction. Coryell also had a rock background and had played in a band with Jack Bruce, Mitch Mitchell and Mike Mandel for a brief time after Cream disbanded. He only moved to the rock star mode when John McLaughlin and he both became disciples of Sri Chinmoy. As a matter of fact, from recollection, a great many of the artists who moved from experimental jazz to move commercial fusion went through some kind of spiritual blender active in the early 1970s. This love of conventional scales and traditional form is one of the things that made jazz less interesting as time progressed. Coryell's playing here is brilliant; I was a fan of his later playing but this is tribute to his range as a player. Coryell's playing was always deliberate. Those who criticize it are unfamiliar with the increased vocabulary that jazz encompassed in the 1960s. Of course, you can hate it, but it's a tribute, not a detriment, to Coryell's skills.
@@garygomesvedicastrology People criticise it because it’s ugly and unpleasant to listen to. Music geeks must understand that complex, difficult to execute, modern, innovative or trendy doesn’t make it automatically good to listen to. Academics can be as superior as they like about this stuff but ultimately it’s a pain to listen to. Who comes home from a hard days work and puts on a Free Jazz recording? Answer- no one -including the music academics.
@@jazzman1954I think you are working from a false premise in that you are assuming everyone has the same reaction to music. I have liked harsh difficult music since I was a kid. I know other people who do. It can act as a release of tension. Personally, I saw Burton twice live. Great musician but he made me fall asleep. I normally would never put on something soothing when I got home from work. We are all built differently. Maybe the best analogy is horror movies, which are still quite popular. They actually release tension. The big lesson for me here is that we are all built differently and we like different things. I like music I know. I know this stuff. It's like home to me. I wouldn't put on a Keith Jarrett record to relax...ever. To me, it's annoying. Everyone has different likes. I tend to like the tougher stuff because of my personality. That's about it. I actually like this! I loved Ornette Coleman playing violin immensely without having heard him before. It depends on my mood. I like music to energize me, not calm me down. I don't think anyone needs to realize anything. They should listen to what they enjoy or works for them. This would not seem so strange if it were heard more often. That's my take. You are free to like what you like. So is everyone. I don't know if there is any criterion for ugly music other than what appeals to the person listening.
Gary Burton sounds smooth and very musical. This is not a great example of the musicality of Larry Coryell. His approach changes dramatically in the late 70's and early 80's and he became a guitarist worth listening to and studying. Thanks for posting this.
Larry Coryell was amazing guitarist but not in this performance. He had much more sophisticated playing in later years and is one of the finest jazz guitarists.
Precious footage, thanks for sharing, 1971 was a sort of pinnacle year in music (some amazing albums released ) but above all, in the early 1970s , all the late 1960s 'Psychedelic'' experimentation had reached a peak and now branching out into new forms, Jazz Rock being on of them, like a famous bassist's of a Prog band said, 'the whole point was, there were no rules...' meaning one had to find t heir own sensibilities, and mix things up drawing from whatever was available, 'warts and all', being innovative and searching was more important than sounding technically perfect .
Coryell is an “Outside” player. For me all his early music breaks into an outside mode at some point. I was a bit confused at first trying to emulate his licks back then…..It’s all in the feel.
Coryell was a tremendously talented man who somehow never failed to disappoint. I've never been able to put my finger on what it was with him. He could play his butt off, but his albums and efforts always missed the mark, with the exception of OFFERING with Steve Marcus. That was a tremendously good album.
I guess I tend to agree with you for the most part. What about his LP Spaces? I've always liked that one; purchased it early on. Also what about one of his later efforts called Cause And Effect? I found that pretty nice but perhaps my standards for it were low to begin with based on what you and I both agree on with regards to his LPs. In any event, RIP Larry. 2017 was a terrible year for guitarists: Larry, John Abercrombie, Allan Holdsworth, all gone.
Barefoot Boy on Flying Dutchman is tremendous. He was on Vanguard Records for much of his early releases and Vanguard had great recording quality but not such great choices. I remember getting the first Eleventh House record and Vanguard I think, decided on short tracks, perhaps to encourage airplay. The Eleventh House was incredibly exciting live. That album seemed stunted. The Steve Marcus group recordings I think were live, and much more representative of Coryell live.
I totally agree with your Coryell comments. He never quite hits the mark. I just about enjoy his very early albums but yes, you guys mentioned his best 3: offering, spaces + barefoot boy. [I've made my own cd compilation of these 3 albums] I avoid his stuff with Alphonse Mouzon!
Question for the bass players: What's the deal with these Dan Armstrong basses. So many players used them back then - including, if not especially, jazz players. Is it just the look or did they actually sound good?
@@jazzman1954 I had a music store, briefly, just out of high school, back in the late Seventies - I ran out of money to keep it afloat pretty much . . . immediately. I had one of those basses, a used one. But not being a bass player, I never bothered to plug it up. I didn't get a ton of traffic, being a new store, and certainly not many bass players, but there was pretty much zero interest in the thing. Sure did look cool though.
Coryell was struggling to integrate a rock sensibility into jazz. He was a pioneer here. It took a lot of experimenting to get there. His performance around the same time at Montreux with Chuck Rainey and Bernard Purdie (captured on the recording, “Fairyland”) is a better representation. Here I think he has difficulty meshing with Burton’s conception. It was just another step in the development of a boundary pushing artist.
I was fortunate to have heard Coryell years later when he returned to Earth. But he is not always recognized as the inventor of jazz fusion guitar - for which i forgive him. This was 5 years before Metheny’s Bright Size Life
I normally like Larry’s playing, Gary is always phenomenal! He’s the best vibes player ever in my opinion. I used to watch him play when I went to Berklee. He amazes even the best musicians. I’m sorry to say, that Larry really sucked during this video. What the “F” was he trying to do? Was he on acid? He was god awful..😞
I can understand the spastic meltdown of the guitar solo starting at 2:44 because this was still close to that woodstock hippy era and long ad lib jams. Coryell is 28 years old here. He didn't play anything amazing and stuck mostly to the blues scale (minor pentatonic with a flat 5 added in) plus a bunch of nonsense chromatics. The vibe player was really good, tho. He had some nice chords going there in the start.
@@Benji306I had Black Woman by Sonny Sharrock. I found that album difficult to get through to be honest (although I love Milford Graves drumming). To my ears, Sharrock was great, but nearly everything he did sounded the same. Coryell could basically play in every idiom. I appreciate what Sharrock did, but this is more coherent to me.
Apparently he was playing there....were you? That was a long time ago and its not fair to judge anyone, especially someone as unique as Larry Coryell was. So what if he took too much LSD then....lol
@@marktrentecosta Nah man, these guys are just gaslighting and trying to compare Larry's style to this newer guy Mancuso or something like the way they compare Ed Van Halen to Hendrix. I just appreciate the essence of what Larry Coryell was trying to project in that solo, I thought it cool. Fast chromatic runs and augmented flourishes.
@@kennyblackbird5674 I saw Eleventh House in New Orleans in the 70's and Larry was on fire!!!!!!!!!!! Then I saw him do a solo show and he blew my mind, so haters keep on hating and listening to the "best" guitar players on You Tube. Larry was brilliant you shouldn't judge anyone off of a video from 53 years ago, as Larry was not "perfect" to your eyes and ears
As a teenager in the late sixties, I heard this group at a Charlotte NC Jazz festival. I met Larry and had a pleasant conversation with him, he was a nice guy. His playing was ridiculously bad, and his sound was terrible, just like in this video. He really sounded like a lunatic . . .
Over the course of his career, I liked many many things that Larry did and some not so much. I have to admit that this really sucks. He sounds terrible and shouldn’t be playing with Gary Burton here.
Wow, I didn't realise this dude had some intense fast picking going on as early as 1971. Impressive. And a fascinating band and performance!
Coryell's playing was far more varied than a lot of fans know, and he was doing a great deal of this kind of playing in the late 1960's. Tone cluster guitar playing was not solely invented by Sonny Sharrock. Check out Coryell's playing on Mike Mantler's Communications 11 (1968) or Barefoot Boy, or records with Wolfgang Dauner for example. As a matter of fact, players like Gabor Szabo, Volker Kriegel, Ray Russell, James Blood Ulmerand Keith Rowe were trying to find ways to integrate the innovations of musicians like Cecil Taylor, Ornette Coleman, late Coltrane, etc.had pioneered.
This was a foray into free jazz guitar playing, which Coryell could cover easily. The great Walt Dickerson was doing similar things on vibes. Even John McLaughlin would occasionally move in this direction. Coryell also had a rock background and had played in a band with Jack Bruce, Mitch Mitchell and Mike Mandel for a brief time after Cream disbanded.
He only moved to the rock star mode when John McLaughlin and he both became disciples of Sri Chinmoy. As a matter of fact, from recollection, a great many of the artists who moved from experimental jazz to move commercial fusion went through some kind of spiritual blender active in the early 1970s.
This love of conventional scales and traditional form is one of the things that made jazz less interesting as time progressed. Coryell's playing here is brilliant; I was a fan of his later playing but this is tribute to his range as a player. Coryell's playing was always deliberate. Those who criticize it are unfamiliar with the increased vocabulary that jazz encompassed in the 1960s.
Of course, you can hate it, but it's a tribute, not a detriment, to Coryell's skills.
@@garygomesvedicastrology very well put. And throw in his cover of ‘the lark Ascending’. And then the above … and it’s all the same guy.
@@davidwatsonYep. Fripp did similar things a bit later.
@@garygomesvedicastrology People criticise it because it’s ugly and unpleasant to listen to. Music geeks must understand that complex, difficult to execute, modern, innovative or trendy doesn’t make it automatically good to listen to. Academics can be as superior as they like about this stuff but ultimately it’s a pain to listen to. Who comes home from a hard days work and puts on a Free Jazz recording? Answer- no one -including the music academics.
@@jazzman1954I think you are working from a false premise in that you are assuming everyone has the same reaction to music. I have liked harsh difficult music since I was a kid. I know other people who do. It can act as a release of tension.
Personally, I saw Burton twice live. Great musician but he made me fall asleep. I normally would never put on something soothing when I got home from work. We are all built differently. Maybe the best analogy is horror movies, which are still quite popular. They actually release tension. The big lesson for me here is that we are all built differently and we like different things. I like music I know. I know this stuff. It's like home to me. I wouldn't put on a Keith Jarrett record to relax...ever. To me, it's annoying.
Everyone has different likes. I tend to like the tougher stuff because of my personality. That's about it. I actually like this! I loved Ornette Coleman playing violin immensely without having heard him before.
It depends on my mood. I like music to energize me, not calm me down.
I don't think anyone needs to realize anything. They should listen to what they enjoy or works for them.
This would not seem so strange if it were heard more often. That's my take.
You are free to like what you like. So is everyone. I don't know if there is any criterion for ugly music other than what appeals to the person listening.
well said.
This is smashing! Larry is a big influence on me! His buddy Hendrix had just passed away months prior to this performance.😢
Gary Burton sounds smooth and very musical. This is not a great example of the musicality of Larry Coryell. His approach changes dramatically in the late 70's and early 80's and he became a guitarist worth listening to and studying. Thanks for posting this.
Thanks for posting. Always liked Gary Burton and saw him life
Gary’s beyond amazing!🤩
Don’t forget-this was the avant-garde period. Burton was into that. The guitar man suited what Burton wanted.
A lot of silly comments here. Coryell is absolutely amazing , and sadly underrated.
But maybe not here.
@stuartdryer1352 or maybe, it's Pearls before Swine?.....
Larry Coryell was amazing guitarist but not in this performance. He had much more sophisticated playing in later years and is one of the finest jazz guitarists.
@@hessu4410 in your opinion. ...as I said: Pearls before Swine
@@hessu4410 pearls before swine
Precious footage, thanks for sharing, 1971 was a sort of pinnacle year in music (some amazing albums released ) but above all, in the early 1970s , all the late 1960s 'Psychedelic'' experimentation had reached a peak and now branching out into new forms, Jazz Rock being on of them, like a famous bassist's of a Prog band said, 'the whole point was, there were no rules...' meaning one had to find t heir own sensibilities, and mix things up drawing from whatever was available, 'warts and all', being innovative and searching was more important than sounding technically perfect .
Finally ,a clean copy of this set..there are 1 or 2 more tunes from this..
Thank you for your hard work, precious footage!
Tremendous groove here.
0:19 > Freedom jazz dance lick
Great video by the way
I like this.
Coryell was first combo of rock and jazz..father of fusion way before Beck
thanks for this rarity and the effort to upgrade!
This is great 👍
Coryell is an “Outside” player.
For me all his early music breaks into an outside mode at some point. I was a bit confused at first trying to emulate his licks back then…..It’s all in the feel.
larry’s sonny sherrock 👍👍
"That escalated quickly....."
LMFAO
It shows how this style of improvisation was in a dead end, probably exciting for the player.
Coryell was a tremendously talented man who somehow never failed to disappoint. I've never been able to put my finger on what it was with him. He could play his butt off, but his albums and efforts always missed the mark, with the exception of OFFERING with Steve Marcus. That was a tremendously good album.
I guess I tend to agree with you for the most part. What about his LP Spaces? I've always liked that one; purchased it early on. Also what about one of his later efforts called Cause And Effect? I found that pretty nice but perhaps my standards for it were low to begin with based on what you and I both agree on with regards to his LPs. In any event, RIP Larry. 2017 was a terrible year for guitarists: Larry, John Abercrombie, Allan Holdsworth, all gone.
@@jonRboy I will need to check these out... it's been a long time! Thanks for the suggestions.
@@N4Eful You may like Spaces. It's got a great lineup, including McLaughlin, Cobham and Corea.
Barefoot Boy on Flying Dutchman is tremendous. He was on Vanguard Records for much of his early releases and Vanguard had great recording quality but not such great choices. I remember getting the first Eleventh House record and Vanguard I think, decided on short tracks, perhaps to encourage airplay. The Eleventh House was incredibly exciting live. That album seemed stunted.
The Steve Marcus group recordings I think were live, and much more representative of Coryell live.
I totally agree with your Coryell comments. He never quite hits the mark. I just about enjoy his very early albums but yes, you guys mentioned his best 3: offering, spaces + barefoot boy. [I've made my own cd compilation of these 3 albums]
I avoid his stuff with Alphonse Mouzon!
I wish I knew you IRL, LOL. We have identical taste in music.
check out the great album Duster with essentially the same group.
Essentially the same group? Not really. Same Gary and and Larry. But that’s it. This spot at Montreux has precious little Duster in it.
The crazy scales Coryell plays here are amazing!
excellent, brilliant, innovative, masterful musicians
TNX
Negative comments = Pearls before Swine. 😮
Positive comments = Emperor’s new clothes.🤔
I once heard Coryell refer to certain parts of his early career as "search parties".
Don't burn your guitar, Larr 🔥
Check out Country Roads and other places with Jerry Hahn on guitar another great set.
It will take me some time ( and a couple more listens) to process this but I might like it. Good night internet.
LMFAO. I hear you. I liked it right away.
Guitar sinistro !!!
Acid has a funny effect on music.
Coryell quoting "Freedom Jazz Dance" right from the start.
Question for the bass players: What's the deal with these Dan Armstrong basses. So many players used them back then - including, if not especially, jazz players. Is it just the look or did they actually sound good?
Just the look. They didn’t sell that well. It’s just plastic basically.
@@jazzman1954 I had a music store, briefly, just out of high school, back in the late Seventies - I ran out of money to keep it afloat pretty much . . . immediately. I had one of those basses, a used one. But not being a bass player, I never bothered to plug it up. I didn't get a ton of traffic, being a new store, and certainly not many bass players, but there was pretty much zero interest in the thing. Sure did look cool though.
Coryell was struggling to integrate a rock sensibility into jazz. He was a pioneer here. It took a lot of experimenting to get there. His performance around the same time at Montreux with Chuck Rainey and Bernard Purdie (captured on the recording, “Fairyland”) is a better representation. Here I think he has difficulty meshing with Burton’s conception. It was just another step in the development of a boundary pushing artist.
I was fortunate to have heard Coryell years later when he returned to Earth. But he is not always recognized as the inventor of jazz fusion guitar - for which i forgive him. This was 5 years before Metheny’s Bright Size Life
an off shoot of gary burtons Duster album.😮
Clint Hinton→Clint Houston?
woops
:42 "wtf are you playing," look from Gary.
This is Austin Powers
I normally like Larry’s playing, Gary is always phenomenal!
He’s the best vibes player ever in my opinion. I used to watch him play
when I went to Berklee. He amazes even the best musicians.
I’m sorry to say, that Larry really sucked during this video.
What the “F” was he trying to do? Was he on acid? He was god awful..😞
I liked it.
I can understand the spastic meltdown of the guitar solo starting at 2:44 because this was still close to that woodstock hippy era and long ad lib jams. Coryell is 28 years old here. He didn't play anything amazing and stuck mostly to the blues scale (minor pentatonic with a flat 5 added in) plus a bunch of nonsense chromatics. The vibe player was really good, tho. He had some nice chords going there in the start.
Kalashnikov guitar. 😊😊
when you have nothing to say, just shout
I don’t think this is very good.
Sonny was a better Sharrock than Larry.
Two totally different players
Absurd remark. Two completely distinct players with their own approaches to playing.
Yikes...... drugs???
coryell probably. died on the road with another group later.😢
@user-fg4fr2bz5y he died in his 70s in a hotel room in Manhattan, in his sleep, from a heart attack.
He'd been clean for over 30 yrs.
Its called passion.
Larry lost his marbles in this video. This isn’t normally how he plays.
@@jamiemorgan4146I love the way he plays in this period. Bold, brazen, boundry destroying jazz fusion. The blues meet free jazz passion.
Sounds incredible when Sonny Sharrock does it. Alas, what Coryell is doing here does not work.
Gary Burton sounds fantastic, as always.
Cornell....Explain.
@@Benji306I had Black Woman by Sonny Sharrock. I found that album difficult to get through to be honest (although I love Milford Graves drumming). To my ears, Sharrock was great, but nearly everything he did sounded the same. Coryell could basically play in every idiom. I appreciate what Sharrock did, but this is more coherent to me.
Wtf did I just hear? It’s like his guitar was invaded by a swarm of hornets
@@gxruiz1 I know! It is awesome!
A jazz guitarist plays a thousand chords to three people.
Original
A rock guitarist plays three chords to a thousand people...
Vibraphone does’nt fit well with rock.
Gary sounds fine. The section are adequate. And then...in steps Larry.
Should have listened to Hank Marvin, mate!
I know we shouldn't speak badly about dead people, but Coryell here is playing crap!
Apparently he was playing there....were you? That was a long time ago and its not fair to judge anyone, especially someone as unique as Larry Coryell was. So what if he took too much LSD then....lol
For 2 minutes or so, I thought you were being harsh...then it went off the rails a bit...then 2.45 happened😂😂😂
@@marktrentecosta Nah man, these guys are just gaslighting and trying to compare Larry's style to this newer guy Mancuso or something like the way they compare Ed Van Halen to Hendrix. I just appreciate the essence of what Larry Coryell was trying to project in that solo, I thought it cool. Fast chromatic runs and augmented flourishes.
@@kennyblackbird5674 I saw Eleventh House in New Orleans in the 70's and Larry was on fire!!!!!!!!!!! Then I saw him do a solo show and he blew my mind, so haters keep on hating and listening to the "best" guitar players on You Tube. Larry was brilliant you shouldn't judge anyone off of a video from 53 years ago, as Larry was not "perfect" to your eyes and ears
@stevejazz6860 you not being able to grasp something only means you don't get it
this shit gives me a headache.
Larry’s normally a great player, but he gives me a headache here too.
Everyone, had a bad night/ day.
Take two and call somebody else in the morning.
As a teenager in the late sixties, I heard this group at a Charlotte NC Jazz festival. I met Larry and had a pleasant conversation with him, he was a nice guy. His playing was ridiculously bad, and his sound was terrible, just like in this video. He really sounded like a lunatic . . .
Over the course of his career, I liked many many things that Larry did and some not so much. I have to admit that this really sucks. He sounds terrible and shouldn’t be playing with Gary Burton here.