Masterstroke of a guitar magician
Larry Coryell and his collegues delighted the enthusiastic audience of more than 300 people.
He demonstrated as a magician of the guitar the tecnique, the different styles and variations in a extreme highest perfection especially the Bolero - a masterstroke of breathtaking speed, musical intensity and dexterity
- the highlight together with the final number with his wife Tracey.
Miles Davis took a liking to Coryell and asked him to stay in Denver, but the young guitarist still had his mind set on New York. "I had to leave," Coryell recalls. "I was determined to go to New York because I felt at the time that even though I could play a little bit, I really didn't think I could play very well at all. I thought about it for a minute, but I knew I had to go to New York, because I knew my knowledge was very limited and my experience was very narrow."
In New York he watched guys like Grant Green, Charles Lloyd and John Coltrane play, which helped open his ears. He eventually started getting national recognition himself when he joined Gary Burton's band in 1967. In the four decades since then, Coryell has recorded with Charles Mingus, Chick Corea, John McLaughlin and other jazz heavyweights. And though he's released sixty or so albums as a leader, he's never done an organ-trio album. In fact, Coryell says he's rarely played with an organist since that stopover in Denver.
Martin Kasdan Jr.
It was apparent from the first notes from the Larry Coryell Trio that they came to PLAY! Guitarist Coryell, with electric bassist Mark Egan and drummer Paul Wertico, tore into the opening "Good Citizen Swallow," (referring to bassist Steve Swallow, Coryell's old bandmate in the Gary Burton Quartet) with a vengeance.
Been playing for 45 years and never could figure this out... have tried different ways but this now shows me the way.
Larry is absolutely one of the greats. This video is crystal clear. Thanks for the demonstration. I'd like to see Larry using it in a live performance. I bet it's awesome.
Jack Massarik, Evening Standard
Still has what it takes: Larry Coryell knows how to play.
One of the few jazz stars who could write his own reviews and possibly sell them, Larry Coryell initially graduated in journalism from Washington State. And after half a century on the bandstand, his expertise as both musician and communicator is substantial. Last night, for instance, he neatly demonstrated how to ad-lib while keeping the band happy.
Larry is truly a master and quite inspiring, i wish I had him next to me each time I practice.
I saw Larry for the 1st time in a long awaited time. Having recently moved to Ann Arbor, Michigan, I didn't get to see Larry while growing up/living in Texas and Colorado. As a guitarist, watching Larry is like an encyclopedia of styles, but he always has his own spin on it. He was one of the best performers I've seen in my whole life and that includes 100's of jazz, blues, funk, and rock perfomances. I hope he comes back to Michigan. Standouts were his Monk's renditions (which actually captured the essence of Monk's harmonic senses which is difficult to extrapolate from piano to guitar), and all of his bluesy, latin stuff. Larry seems to always mix complexity with emotion and never is all head, no heart. He's one of my favorite guitarists of all time, and he proved why he's a legend that night. He's also a really friendly guy and will sign your Cd's and doesn't have an arrogant attitude. As a fairly younger guitarist from a different generation, it makes me realize that there is so much to learn. The drummer and bassist were also outstanding and complemented Larry's eclectic style very well.
Incredible! Sat here with my jaw hanging. Every time I see something I'd like to try - there's always ten more items you learn about that keeps learning - an endless trip.
Excellent explantion of natural harmonic simple enough for a novice to understand and open up a great technique. Thanks Claude and thank you Larry.
in review Recordings
Larry Coryell's name isn't bandied around much now, but in the 1970s he was almost as big a guitar star as John McLaughlin, and an equivalent influence on the development of early electric jazz-rock fusion. But this is not just another cosy retro exercise. Coryell's crackling uptempo bursts and engagingly rough-hewn energy give this familiar music a vividness and infectious enthusiasm, and the powerful presence of sometime Bill Frisell and Norah Jones sideman Sam Yahel on Hammond organ and former Pat Metheny drummer Paul Wertico adds a lot more of that. The early tracks are mostly classics, but Coryell's original Szabador and Wertico's Full Moon Over Istanbul are memorable and unusual enough to suggest that the group could have scattered its own music a little more confidently through the programme. Coryell's own stealthily bluesy groover Stowaway is full of Wes Montgomery flourishes, and Yahel builds his solos with a compelling deliberation tentatively introducing fresh phrases and then igniting them, segueing flying runs into murmurs, and generally avoiding familiar Hammond organ licks. Wertico's brutal, pummelling drum solo in Coryell's fizzing Szabodar (a tribute to the late Hungarian guitarist Gabor Szabo) would also never have been heard the same way on a 1960s bop set. It's good to hear Coryell on top of his game.
I had the extreme pleasure of seeing Mr. Coryell play twice in the 80's. Man, what an inspiration this guy was then and is, even more so now. He just proves how greatness knows no stylistic boundaries.I will cherish this DVD teaching aid as I am certain there has to be an abundance of valuable techniques and ideas to enhance the ongoing musical growth of any guitarist, or musician, for that matter and I hope to learn a lot from this presentation. His resume reads like a who's who of jazz aficionados, and an opportunity to get inside the technical aspects of this style (s) can only better the journey to become the best one can at furthering their musical endeavours. Thanks Claude for bringing the best to the guitar community to ever enhance our appreciation and growth with the guitar. Much respect and best wishes!
I remember seeing Larry Coryell and John McGlaghlin in concert in 1978 and being completely mesmerized by the two unique styles of guitar. Coryell is a virtuoso and makes the complex look so simple (and easy) !
Larry Coryell is AMAZING. He has described this technique better than anyone I have ever heard. He has a teaching style that is complete, informative, techniqually precise, and easy to understand. I am sure these DVD's will be worth whatever they cost...especially with everything tabbed out. Good work,
Thanks so much for opening up a whole new world of guitar playing for me in under five minutes! I've never before thought of using artificial harmonics in such a way, I think the most advanced way I've used them before was in the sakura variations or Edgar Cruz's arrangement of Bohemiam Rhapsody. Now I think I'm going to be fiddling with this for days.