js 'Level One' is classic hard rockin jazz fusion from the mid 70s with that progressive rock influence popularized by artists like Mahavishnu Orchestra, Return to Forever and David Sancious. With their upbeat optimistic grooves and hyper nerd funk, Eleventh House probably favors RTF more than the other two. Coryell and his gang are far more than just competent as they energetically rip through these tunes, yet they never seem to elevate themselves to quite the same stature as some of the previously mentioned bands with whom they share a common sound. Although Eleventh House might just slightly border on fusion lite when compared to the genres greatest, you can't blame Coryell, whose guitar burns with a gritty hard rock sound that puts him ahead of all other fusion fret-meisters when it comes to pure heavy rock vibes and sound. At their best, Eleventh House uses heavy metalized synth lines in conjunction with the trumpet to produce orchestrated futuristic melodies. Side one closer 'Nyctophobia' is especially strong with a dissonant heavy synth melody that leads to an impossibly fast thrash/fsuion groove, courtesy powerhouse drummer Alphonse Mouzon, which peaks with more heavy jagged synthesizer lines, nice stuff. Other tunes that set them apart from the 70s fusion crowd feature echoed trumpet over space grooves that predate the sound of 90s acid jazz. Overall the playing on here is excellent, everyone has the expected ultra nimble skills expected of the jazz rock crowd during this era. The only problem with this album is that it only suffers in the inevitable comparison to their peer group who had the advantage of better song writers and arrangers.

Hardly a clone of Mahavishnu and RTF, Eleventh House are at their best when they accent their uniqueness; futuristic synth/horn lines and Coryell's extra greasy hard rockin guitar. This album is highly recommended for fans of classic mid-70s progressive jazz-rock.

FunkFreak75 One of the most prolific bandleaders in the Jazz-Rock idiom is back with his second studio album expression through his Eleventh House medium. Mainstays include keyboard wizard Mike Mandel, drummer Alphonse Mouzon; the newcomers include bassist John Lee and trumpeter Mike Lawrence--both of whom give the performances of their lives--as well as guest musician (and song contributor) Steve Khan.

1. "Level One" (3:21) a Mike Mandel and Steve Khan composition that opens the album with something quite powerful--not unlike the impact of a Mahavishnu Orchestra song. Great hook, great play from all the musicians. Awesome start to the album! (9.5/10)

2. "The Other Side" (4:35) what play from the rhythm section of Alphonse Mouzon and John Lee! Wow! John is really on fire with that bass! I think the playing of this rhythm section that pushes trumpeter Mike Lawrence to such heights. The use of effects like reverb and wah-wah on Mike's trumpet is very cool. Larry is great "sneaking in" among Mike and the rhythmatists until his solo in the fourth minute. Man! Is he hot! One of my favorite Larry Coryell solos ever, to be sure! There is NO flaw with this amazing song! (Thank you, Michael Lawrence!) (10/10)

3. "Diedra" (3:56) toning it down with a saccharine tune that still manages to convey some jazz and funk despite some smooth melodies and easy-going spaciousness. This song is just so well put together: everybody performing like absolute masters of their instruments, the song (composed by Mike Mandel) founded on a simple BOB JAMES-like formula but embellished subtly as only true professionals could do. (9/10)

4. "Some Greasy Stuff" (3:30) an Alphonse Mouzon compostion that sounds like a submission for a either television show theme song or a Disco cover for a Soul Train dance tune. It's good: the performances are all top notch and seem genuinely inspired; it's just that the song is a little . . . basic. (8.75/10)

5. "Nyctaphobia" (4:03) Oh! Now we're trying some Billy Cobham-level funk furioso! The horns (which I assume owes some credit to keyboard maestro Mike Mandel) are epic! And then the music and musicians just keep driving the music into faster and more furious heights until finally settling into a race across the desert. This Alphonse Mouzon composition is so much superior to the previous one. It reminds me of some of the dramatic music from the first three Chicago albums. (9.3333/10)

6. "Suite" (5:32) (9.25/10): - a) "Entrance" - the first of Side Two's five Larry Coryell compositions is running on high octane, multiple engines. I am super impressed with the piano-centricity of the song and the massively dense wall of sound of this Latin-sounding tune. - b) "Repose" - the slow down is unexpected, sparsely populated (despite the oceanic fretless bass), taking a bit to set up for the trumpet melody setting with all of the subtle contributions of the other band members. - c) "Exit" - the finale starts out like a Mexican fiesta party before settling into a Latin-jazz-rock motif to finish. I'm not quite sure what Larry was setting out to do with this "suite" but it is definitely of the highest caliber in terms of composition and performance.

7. "Eyes of Love" (2:35) an acoustic guitar solo piece. Larry can play some Americana! (and play it complexly, as is his nature). It's not "The Clap" or "Mood for a Day" but it's good. (9/10)

8. "Struttin' with Sunshine" (3:20) Larry launches the band into a rock song only throwing in a couple nearly-undetectable twists and stumbles (to make it not be in the 4/4 time it feels like it's in?) The music played by the rhythm section is a bit boring (though they manage to spice it up subtly) but the guitar, trumpet, and keys on top manage to keep it interesting/entertaining. Larry is just so talented! He jus t lets his skills work on such a subtle level! (You have to be really listening to really fully appreciate his genius). (8.875/10)

9. "That's the Joint" (4:03) a John Lee composition, unfortunately, has the stiff, one- or two-dimensional restrictiveness of his compositional style. Still the rest of the band do their best to make it interesting. (8.75/10)

Total Time 34:55

This album starts out so fast, so hard, with such complexity, displaying such high levels of individual and whole band skill, that it's hard to get a breath in until Side Two. Even "Dierdre" has amazing things happening in it in almost every second of its four minutes. It's not until the album's last two songs that things begin to wane--as if the well is about to run dry; the candle is reaching the end of its wick. Icarus has gotten too close to the sun. This is yet another Larry Coryell album that I have to admit I came into with fairly low expectations but then get absolutely blown away: on so many levels! John Lee! Mike Lawrence! Mike Mandel! Steve Khan! Alphonse Mouzon (drumming, not necessarily composition). And the band leader's generosity in making sure that everyone feels encouraged to feel the freedom to FULLY express themselves!

A-/five stars; a minor masterpiece of high-caliber Jazz-Rock Fusion. If the entire album were as dynamic and impressive as the five best songs this would be one of the best J-R Fuse albums ever made!

Sean Trane Second or third album from LC’s JR/F group and two major changes between Level One and Introducing; trumpet player Randy Brecker is gone replaced by the less-present Michael Lawrence and the bassist slot is now occupied by John Lee. Along with the plain photo montage artwork, the other big change is that Danny Weiss is absent from the production desk. Songwriting-wise, LC practices a certain kind of democracy, Mandel, Mouzon, Lawrence and Lee getting at least one song in, LC only getting in three (on the flipside)

Opening on the title track, the band really seems to literally do that: take you to that first level. Everybody plays in unison and a basic structure. As if on intention the following Other Side, shows exactly that: much more impressive both structurally but virtuosity-minded, the track smokes under your stylus, and you might be tempted to keep your fire-extinguisher at hand. No need though, coz Larry & The Gang go soft (almost limp) with the much less enthralling Diedra. The amusingly titled Some Greasy Stuff gets the Eleventh House right back on track, with plenty of brass, an aerial synth and some gruffy guitars, courtesy of the master of the house. Rounding up the vinyl is the Ultra funky 200 MPH Nyctaphobia (fear of the night), where the average speed can’t be controlled by a normal radar, as they approach RTF and MO cruising speed.

Obviously on the flipside, the opening three-movement (just under 6 minutes) Suite is the main attraction, with LC’s guitars and Lawrence’s trumpet exchanging wild leads. Eyes Of Love is an acoustic solo Coryell piece, which is a bit out of context, especially sandwiched between two scorchers, the aforementioned Suite and the very funky Struttin’ With Sunshine, the latter a real wakeup call and paving the way for the closing That’s The Joint, another funky piece where Coryell literally smokes his guitar strings red hot over wild brass section interventions. While the album ends fantastically, it leaves you wanting more, because the album’s length is a bit on the short side, >> some 31 minutes for an album.

Not quite as successful as Introducing (or even Planet End), this album still holds some very interesting moments and compared to many other JF/F group, The Eleventh House is immediately recognizable, something which would eventually become problematic in years to come in the genre.