LARRY CORYELL
Tricycles

Favored Nations

Larry Coryell’s latest CD, Tricycles, stands with the best work in his discography, and that’s saying a lot, considering that his catalog includes forays into fusion, free jazz, and rock as well as displaying the influences of such legendary jazz guitarists as Tal Farlow and Barney Kessel.

There are several factors contributing to the success of this release. First, the sound of the disc is absolutely flawless. German producer Frank Kleinschmidt and Engineer Winnie Leyh are to be commended for capturing so beautifully the sound of Coryell’s trio. The drums are crisp and dry, the bass clearly audible yet well mixed, and Coryell’s guitar is warm and open. Yep, the sheer sound of Coryell’s guitar is stunning, conveying heat and yet flying coolly below the radar.

Of equal importance to the sound of this group is that they have a lot to say, musically, and are extremely adept in the language they use to convey it. Drummer Paul Wertico and bassist Mark Egan have both worked with Pat Matheney, though at different times. Still, the simpatico they display as a rhythm section is remarkable and allows Coryell the freedom to explore harmonically while still displaying his ample sense of lyricism. After an affable, blues-based opener, “Immer Geradeau” the group sets about trying on some different grooves, beginning with the kinetic “Dragon Gate,” a composition Coryell originally recorded on the album Spaces Revisited (it was also the title track of a 1989 album). Here, there is just as much energy, but a greater sense of interconnectedness between the musicians. The apparent effortlessness with which they weave through the tune is truly pleasurable. During the high points of these performances the listener cannot help but smile, so infectious is the joy of the group in rendering them.

Things continue apace with “Good Citizen Swallow,” a number Coryell has recorded with Gary Burton (1967’s Lofty Flake Anagram) and as a leader (1984’s Comin’ Home). The piece clearly provides the guitarist with some first class inspiration, as his playing here manages to evoke the language of rock guitar even though the piece is a pretty straight ahead jazz workout. Bassist Egan plays a solo that evokes both the piece’s namesake, Steve Swallow, and Jaco Pastorious. On “Spaces Revisited” the guitarist evokes his earlier work and offers his most daring solo. Once again we are reminded that Coryell can play a jazz style with a rock sound or vice versa, and can play any style (bop, post-bop, fusion, etc.) that comes down the pike equally well.

Coryell is a big Monk fan, and there are two performances of Monk tunes here. “Round Midnight” seems like an unnecessary selection, but Coryell’s rendition evokes the spare, lonely feeling of the composition quite well. “Well You Needn’t” is a rollicking bop-style workout that, while not offering anything particularly new in the way of interpretation is right on target. Coryell concludes with a solo acoustic rendition of the Beatles’ “She’s Leaving Home” that provides an introspective and gorgeous conclusion to the album.

Tricylces is a hot CD, and one that fans of jazz guitar generally as well as of Larry Coryell specifically, will want to hear again and again.