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Larry Coryell

Larry Coryell image
Parent Issue
Day
1
Month
November
Year
1973
Copyright
Creative Commons (Attribution, Non-Commercial, Share-alike)
OCR Text

One check through the crowd was all the info you needed to realize a heavy gig was gonna come dow,n. I mean people were nto it! The A" loadies were there, the hip business ;ats, the jazzed out students, all takin' it in, gettin' it on and gettin' ready for the 1 lth house. And blow it out they did! It was no B.S. from the begjnning. Coryell wants people to know that the 1 1 th House rocks! He also seems to be reworking the idea of the old "Everything is Everything" band, i.e. return to a rock base and space out from there. However in 1 1 th House we find a much more seasoned Coryell in a surrounding he was very instrumental in shaping. The sidemen collectively reflect Coryell's directional outlook, similar to that of SantanaMcLaughlin or Pink Floyd (pre "Dark Side of the Moon"). Take Randy Brecker's jazz trumpet, the rock bass of Danny Triband, and the blackness of Alphonse Mouzon's drums and percussion, lace it with electronic keyboard wizardry by Mike Mandell and there you have Coryell's extremely flexible vehicle: which he drives like it was a Lotus Elan. Whether it was the Mahavishnu-like set opener, or the driving beat of Funky Waltz (drummer Mouzon's composition) or the Uiting rhythm of Theme for a Dream, Coryell's licks were in perfect time and carefully geared sequence. Tune for tune, this is one of the more exciting and future-oriented bands to be seen performing in the club circuit today.