FunkFreak75
Though not released until 1976, the songs collected and packaged here were recorded in sessions that happened in 1968 and 1969. The music here is predominantly blues and blues-rock with very little Jazz-Rock Fusion 1. "Call to the Higher Consciousness" (5:17) a very basic blues rock song constructed from a very basic blues chord progression. Larry, an oddly uncredited saxophone soloist, and congas take turns playing over the basic blues rhythm track as provided by front-mixed bass, drums, Ray Mantilla's percussion play, and Mike Mandel's distant organ. Sounds like a garage practice session for a new high school "band" of 16-year olds (albeit, gifted 16-year olds). No disrespect to Larry, but Ray is the only one here on this recording that sounds like he's on a professional level. (8.66667/10)
2. "Slow Blues" (4:22) pure blues. Some top notch blues guitar play from the bandleader--and I've seen/heard a lot of the greats! And pretty well recorded (as opposed to song #1). A solid blues song with some praise-worthy lead guitar work. (9/10)
3. "Friday Night" (2:22) more blues rock, this time with a little more Swamp fell and a lot more Buddy Guy-like rock orientation to it. I can hear quite a bit of Stevie Ray Vaughn in this one. Great bass and drum play from Chuck and Bernard. (I'm assuming.) (4.75/5)
4. "Half a Heart" (3:30) a SANTANA-like song that has a melody to hook onto as well as some mature structure with multifarious chord sophisticated progressions and more stunning lead guitar work (though much more rock-oriented on this one) and vocals! In the second half of the second minute. (He's got a really good voice!) Is this the song that spawned Becker and Fagen's "Do It Again"? Sure sounds like it! (9.33333/10)
5. "Sex" (4:32) a rock-sided blues rock tune with a looseness that reminds me of a Stevie Winwood song. Great percussion and bass work while Larry wows us yet again with his ROGER McGUINN/Byrds-like/inspired 12-string lead guitar work. (9.25/10)
6. "Tyrone" (3:00) Larry covering a Larry Young composition with the same lineup and sound palette as the previous song. There is a little "Walk on the Wild Side" feel coming from the bass players lines. Nice solid team of drums and congas behind Larry's impressive guitar phrasing and skills. (8.875/10)
7. "Jam with Albert" (2:55) could the uncredited saxophone player on songs 1 & 7 be none-other than ground-breaking musician Albert Ayler--a man who would be dead within two years of these recording sessions (at the ripe young age of 34)? Given Larry's ubiquitous and fearless full immersion into the New York City music scene since his arrival in 1965 my hypothesis would not be a far stretch--and with the way the musical performances unfold on this song, I would not put it past the two, either. Nice rock song that feels and sounds like something that could've come off of a Jeff Beck album of the same time (Larry is really cooking on that rock guitar--and the rhythm trio [bass, drums, and congas] are incredibly tight!) (8.875/10)
8. "Organ Blues" (5:19) the only song on the album in which an organ plays a significant role, the interplay between Larry and Mike Mandel feels very loose and comfortable: both very mutually respectful and supportive. (This song represents the birth of a long and very industrious collaborative relationship for the two.) Otherwise a very standard- sounding blues song--one that sounds as common as an I-IV-V or I-VI-IV-V progression is in rock music. (8.875/10)
Total Time 31:17
I don't know if the music on this album is ordered in chronological order according to when they were first recorded , but they almost play out like that: simplest first, most sophisticated/mature toward the end. Most all of my individual song ratings are higher than my musical tastes would have predicted. This is due to the fact of nice sound recording, great instrumental performances--especially from the often-jaw-dropping play of one Lorenz Albert Van DeLinder III (aka Larry Coryell).
a minor masterpiece of Blues Rock that might very well also be considered an example of proto-jazz-rock fusion--certainly an astonishing display of guitar pyrotechnics: each song a master class unto itself. HIGHLY recommended to any fan of the evolution of the electric guitar and for any fan of the highest caliber guitarists who ever wielded an axe.
