Jazz Archives

Something was brewing in the lower east side of New York City in the spring of `66. Released on New Year`s Day 1967 this relic is probably the coolest, hippest and farthest out and overlooked recording of the `60s bar none. These cats ventured where no one dared tread in 1966, blowing every band away in their path with their galvanizing psychedelic performances that contained an uncanny concoction of blues, rock,folk, East Indian and be-bop. Considered by afficiados to be the first jazz-rock recording ever The Free Spirits`Out Of Sight An Out Of Sound was exactly as the title implied, radical stuff, as guitarist Larry Coryell would recall years later.
The band consisted of players who were mostly weaned on more traditional jazz stylings started out playing just that before being swayed by mastermind Coryell more in the direction of rock with his affections for the music of Bob Dylan and The Beatles. Reluctant at first, the other members which included Jim Pepper on woodwinds, Chris Hills on bass, Bob Moses on drums and second guitarist Columbus Baker, the only member with no jazz backround, eventually took his cues and consolidated their individual virtuosic musical abilities to create hybrid music that wasn`t heard until several years later by such groups as Tony Williams`Lifetime, Weather Report or during Miles Davis`Bitches Brew Sessions. Even so, at the time these young aspiring musicians could not be considered musical visionaries in the least, they were just five cats who hooked up and were just doing their thing much in the same way as many bands were doing back in the free thinking latter half of the sixties.
After a scant two month`s tenure at one of New York City`s east end`s grooviest clubs, The Scene, they were invited to cut a record for ABC records with veteran engineer Bob Theile who had previously worked with the likes of jazzmen John Coltrane and Charles Mingus. Unfortunately, Theile didn`t hold rock musicians in the same regard and the recording didn`t come off as most of the band expected and was hurriedly completed with none of the original compositions exceeding much more than 3 minutes which didn`t allow for much freaking out instrumentally. The album didn`t compare to the intensity of their live performances which , according to many who witnessed them, were full of improvisation and flair. Notwithstanding the shortsightedness of corporate types the album featured competent musicians who could hold their own in any jazz ensemble of the day while at the same time playing music which was socially and culturally in tune with the hippie generation, singing about peace and love which could be compared to The Byrds, The Mamas & The Papas and The Beatles complete with stoned out vocals and twangy guitar by Coryell who even played sitar on a couple of tracks. What really made the music jive was the inclusion of Peppers avant crazed tenor sax and flute cries on tracks like the acid soaked Don`t Look Now, the hippie anthem I`m Gonna Be Free and Storm which was certainly one of the first pop songs to feature the flute. Bob Moses` pertinacious be-bop tendencies on the drum kit, which are in evidece throughout, also gave their sound a certain smoothness which gave the record even more groovy hip feel.
Don`t expect any of the improvisational guitar wizardry of Larry Coryell here ( he hardly solos ), but it`s interesting to hear this early marriage of different musical sensibilities from a group of cutting edge musicians which just grooves and moves. One of the few examples of psychedelic jazz from the sixties. Imagine John Coltrane and Wes Montgomery meets The Beatles and Hendrix. Those who think Miles invented fusion should definitely give this gem a spin. A veritable unsung artifact of rock 'n roll history.

:::Review by Vibrationbaby:::

The Free Spirits - Out Of Sight And Sound (1967) (2006)

1. Don`t Look Now ( But Your Head Is Turned Around ) 2:19
2. I`m Gonna Be Free 3:30
3. Lbod 3:05
4. Sunday Telephone 2:57
5. Blue Water Mother 2:46
6. Girl Of The Mountain 2:42
7. Cosmic Daddy Dancer 2:36
8. Bad News Cat 3:26
9. Storm 2:15
10. Early Mornin`Fear 2:39
11. Angels Can`t Be True 2:43
12. Tattoo Man 2:59
13. I Feel A Song 2:36

Credits
- Larry Coryell / guitar, sitar, vocals
- Jim Pepper / saxophone, flute
- Columbus Baker / bass
- Bob Moses / drums

Larry Coryell stands on equal footing with John McLaughlin as one of the premier jazz fusion guitarist and this probably represents his finest achievement. Many people consider his earlier work with McLaughlin, 'Spaces' as writing the textbook for fusion style guitarwork, but to me, this is his greatest overall musical achievement. Comparisons to the original Mahavishnu Orchestra may seem to be inevitable considering the power and attack of the band's performance, but stylistically, the band plays much closer to the fusion/funk style of Herbie Hancock's Headhunters. Their is not as much of an eastern influence as the Mahavishnu Orchestra and there seems to be a wider variety of tempo and stylistic diversity on this recording. The synthesizer runs and Randy Brecker's trumpet keep pace rather well with Coryell's intensity and the compositional framework is elaborate and melodically sophisticated. But the highlight, of course, is the blitzkrieg of notes being pummelled out of Coryell's guitar mostly trading with synthesizer and trumpet, intermingled with more mid tempo improvisations; but the dynamics and interaction feature not just beautifully intricate work, but ingenious melodic and harmonic scales befitting musicians of the highest technical accomplishment. This is probably the most technically perfect fusion recording I have ever heard; a joyous and awesome performance!

:::Review by wooty:::

Larry Coryell - Introducing The Eleventh House (1974)

1. Birdfingers ( 3:07 )
2. The Funky Waltz ( 5:10 )
3. Low Lee Tah ( 4:17 )
4. Adam Smasher ( 4:30 )
5. Joy Ride ( 6:08 )
6. Yin ( 6:03 )
7. Theme For A Dream ( 3:26 )
8. Gratitude ( 3:21 )
9. Ism-ejercicio ( 3:59 )
10. Right On Yàll ( 4:21 )

Credits
- Larry Coryell / guitar
- Randy Brecker / trumpet
- Mike Mandel / keyboards
- Danny Trifan / bass
- Alphonse Mouzon / drums

German-born composer/trumpeter Michael Mantler and his then-wife Carla Bley were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz -- and he succeeded magnificently. His style tends toward the brooding and darkly romantic with harsh, cynical edges, a perfect foil for the robust, shackle-breaking improvisations found herein. The cloudy, roiling swirls that open "Communications #8," echoed by Bley's stabbing piano chords, lay the groundwork for inspired soloing by Don Cherry and the pre-Last Tango and still extremely fiery Gato Barbieri. Subsequent pieces include an amazing feedback showcase for Larry Coryell and a gorgeous, somber work featuring bassist Steve Swallow and trombonist Roswell Rudd. All of this is a preview for, well, "Preview," an utterly incendiary flight by Pharoah Sanders over a pounding rhythm by the orchestra, a piece that will leave the listener bruised, battered, and exhilarated. Except that the best is yet to come: a 34-minute, two-part composition, a concerto for Cecil Taylor and orchestra, that finds the pianist at the height of his powers, just beginning to enter the third phase of his development where he fused ultra-high energy playing with rigorous logic and heartbreaking beauty. The breadth of this piece, its expansiveness, and its tension between order and chaos is one of the single high watermarks of avant-garde jazz. Communications is a masterwork in and of itself and laid the basis for stunning work by others in decades hence, notably Barry Guy and his London Jazz Composer's Orchestra. It's an essential document for anyone interested in avant jazz and late-20th century creative music.

:::Review by Brian Olewnick:::

The Jazz Composer's Orchestra – s/t (1968)

A1. Communications # 8 (13:52)
A2. Communications # 9 (8:08)
B1. Communications # 10 (13:26)
B2. Preview (3:23)
C. Communications # 11 Part 1 (15:10)
D. Communications # 11 Part 2 (17:47)

Credits
Bass - Alan Silva (tracks: C, D) , Bob Cunningham (tracks: C, D) , Charlie Haden , Eddie Gomez (tracks: A2, B1, B2) , Kent Carter (tracks: A1) , Reggie Johnson (tracks: C, D) , Reggie Workman , Richard Davis (tracks: A1) , Ron Carter (tracks: A1, A2, B1, B2) , Steve Swallow (tracks: A2, B1, B2)
Conductor, Producer - Michael Mantler
Cornet - Don Cherry (tracks: A1)
Drums - Andrew Cyrille (tracks: A1, C, D) , Beaver Harris (tracks: A2, B1, B2)
Flugelhorn - Lloyd Michels , Randy Brecker (tracks: A1) , Stephen Furtado (tracks: A2, B1, B2, C, D)
French Horn - Julius Watkins , Bob Northern
Guitar - Larry Coryell (tracks: A2, B1, B2)
Piano - Carla Bley (tracks: A1, A2, B1, B2) , Cecil Taylor (tracks: C, D)
Saxophone [Alto] - Bob Donovan , Frank Wess (tracks: A2, B1, B2) , Gene Hull (tracks: A1) , Jimmy Lyons (2) (tracks: C, D)
Saxophone [Baritone] - Charles Davis
Saxophone [Soprano] - Steve Lacy (tracks: A1) , Steve Marcus (tracks: A2, B1, B2, C, D)
Saxophone [Tenor] - Gato Barbieri (tracks: A1, C, D) , George Barrow (tracks: A1, A2, B1, B2) , Lew Tabackin , Pharoah Sanders (tracks: B2)
Trombone - Jimmy Knepper , Roswell Rudd (tracks: B1)
Trombone [Bass] - Jack Jeffers
Tuba - Howard Johnson

Coryell had no problems attracting interest for this new project and recruited four exceptional musicians who all, at on time or another, had played with maestro Miles. Guitarist John McLaughlin was a perfect sparring partner. McLaughlin, who had just arrived from Europe, was playing with the newly formed jazz-rock outfit Tony Williams`Lifetime and had also played on the " Bitches Brew " sessions and, like Coryell, he had jammed with Hendrix and shared Coryell`s interest in certain aspects of rock music. Drummer Billy Cobham had already made his mark and in addition to playing briefly with Miles he had apprenticed in US Army bands and played on recordings by Horace Silver and George Benson. Bassist Miroslav Vitious had played with Miles while keyboardist Chick Corea had just joined Miles`band.
While "Spaces" has been frequently referred to as the purveyer of `70 fusion ( and this may be true to a point ) it is more of a jazz record than anything. It didn`t sound like any jazz record up to that point but has probably been referred to as the forerunner of fusion because the individual musicians went on to form or become part of the heavyweight fusion groups of the `70s, The Mahavishnu Orchestra, Weather Report, Return To Forever and Coryell`s own fusion group The Eleventh House. Nonetheless, unquestionably " Spaces " was certainly the embryo from which fusion blossomed.
The album, in it`s short 36 minutes and 42 seconds covers many points on the jazz spectrum. An ominous bowed bass passage from Vitous introduces the title track, " Spaces ( infinite ) " which develops into an atonal guitar exchange between Coryell and McLaughlin and certainly the high point of the work. Subtle psychedelic undertones can be heard but there`s no overkill and it is by far the " rockiest " piece on the album with some use of distortion. " Rene`s Theme" while exluding the rythmn section is more than adequately compensated for with the frenzied bop-like rythmn patterns on behalf of both guitarists on this acoustic track which blends elements of Coltrane and Django who were big influences on both guitarists. To those unfamiliar with the guitarists` playing at the time ( and both had found their distinctive voices by 1969 ) it might be hard to discern who is playing what but not to worry the liner notes solve this problem. In General, Coryell does most of the soloing ( hey he`s allowed, it`s his record OK ) while McLaughlin provides well timed rythmn inserts. An example of Coryell`s insane soloing can be found on " Wrong Is Right" where he let`s loose with a lightning speed silent barrage which would defy any guitar player`s immagination. Two of the more pensive pieces on the album also feature some interesting experimentations. " Gloria`s Step " is introduced by another bowed bass passage from vitous and at first on might think it`s a cello playing. " Chris ", which is obviously a Bill Evans inspired piece, features Chick Corea on electric piano. His playing here is both poetic and enticing and imerses the listener into an almost surealistic pleasurable dream which complement Coryell`s rising and falling guitar ideas. A mention also should be made of Cobham who pulses his way along with the group and fits in so perfectly sometimes you forget he`s there because of some of the grooves he gets into.
Nothing really peaks on " Spaces " and while lacking the razzle dazzle of the fusion bands it inspired, it relies on raw in-your-face sincere playing on behalf of all the musicians with only minimilistic use of volume & distortion. No studio tricks or wah wah pedals here folks. If you`re expecting an amps turned to eleven last man standing guitar battle royale then you`l have to look to other avenues. What you get here is two young virtuoso guitarists interacting beautifully who obviously have respect for each other`s respective talents. By a long shot one of the more challenging jazz albums ever recorded and even if it runs a mere 36 minutes+ it seems like an eternity. Perhaps not the best starting point for one wishing to explore the musical mind of Larry Coryell but if you`re looking for something adventurous you`ve come to the right place with " Spaces". Fusion before fusion. Precious. 5 stars what else.

:::Review by Ian Gledhill:::

Larry Coryell – Spaces (1969)

1. Spaces ( Infinite ) ( 9:16 )
2. Rene`s Theme ( 4:06 )
3. Gloria`s Step ( 4:29 )
4. Wrong Is Right ( 9:00 )
5. Chris ( 9:31 )
6. New Year`s Day In LA, 1968 ( 0:20 )

Credits
Larry Coryell / guitars
John McLaughlin / guitars
Chick Corea / electric piano
Miroslav Vitous / double bass
Billy Cobham / drums