"The Eleventh House during 1972-1975 was one of the stronger working groups in fusion, led by one of the unsung heroes of the idiom, guitarist Larry Coryell. This CD reissue brings back The Eleventh House's first recording and, in addition to Coryell's guitar, most heavily featured are trumpeter Randy Brecker (who would later be replaced by Mike Lawrence) and keyboardist Mike Mandel; bassist Danny Trifan and drummer Alphonse Mouzon are strong in backup roles. The influence of Miles Davis, Weather Report, and Herbie Hancock is apparent, but The Eleventh House also offered a sound of their own. Brecker's solos are often both fiery and lyrical (although his use of an occasional electric wah-wah device is less interesting). Coryell and Mandel blend together quite well, and the original grooves on this set often have distinctive personalities. Pity that the reissue does not have any liner notes, otherwise it is easily recommended to fans of early fusion." (Scott Yanow, Allmusic; 4,5 uit 5 sterren)
"This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima" and the forthright reading of the 12-bar blues "Up 'Gainst the Wall" featuring Williams. The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they". (AllMusic)
"Like father, like sons, acoustic guitarist Larry Coryell and sons Julian and Murali get together for their first recorded project, and it sounds fine. Larry tends to dominate improv space, but doesn't get in the way of his kids, who are adept in their own bluesy ways. Bassist Brain Torff and percussionist Alphonse Mouzon (no drum kit, only hand drums and tambourine) join on several selections. Murali sings in his down-home, slightly affectated manner for three cuts. Julian has two features by himself, with Torff only on the easy two-beat "Something Pretty" and the nice waltz "Song for Emily." Though some speedy lines crop up here and there, this is a more musical than pyrotechnical display that proves quite enjoyable throughout. A very good first step for the Coryell family's musical bonding recorded for public display, this is definitely recommended." (Allmusic)
" When they chose to, the Brecker Brothers Band could be one of the most intelligent and creative fusion outfits. Chief composer/trumpeter Randy's best tunes were structurally unpredictable, melodically intricate, and harmonically complex, inside/out bop heads played in an impossibly precise manner over a bed of funk rhythms. Unlike the bulk of jazz-funk, the Breckers - on their first record, at least - kept the pandering to a minimum." (Allmusic)
Joel Xavier is een (in Nederland niet zo bekende) Portugese gitarist. Hij voelt zich thuis in diverse stromingen maar op dit debuutalbum houd hij het dicht bij zijn culturele huis. Latin waarin de Noord-Amerikaanse blues ook de kop op steekt. Hij hanteert een vlotte, frisse stijl in eigen composities en laat zich bijstaan door grote namen als Arturo Sandoval en Paquito D'Rivera. (GR Muziekbank)
Heruitgave uit 2003 van album uit 1989. "Larry Coryell will always be best known for arguably being the first fusion guitarist, but his career has been quite wide-ranging ever since the late '60s. On "Shining Hour", he mostly sticks to jazz standards other than his own "Floyd Gets a Gig" and Brian Torff's "Apathy Rains." Several of the selections are identified with Miles Davis including "Nefertiti" and "The Sorcerer" but there are also hard swinging versions of "All the Things You Are" and "My Shining Hour." Coryell, whose playing works well in this (for him) rare setting although he is not really a boppish improviser, interacts with pianist Kenny Barron (who sometimes takes solo honors), bassist Buster Williams and drummer Marvin "Smitty" Smith." (Scott Yanow, Allmusic)
Drie gepokte en gemazelde namen in de jazzrock/fusionwereld ontpokken zich samen tot een heus powertrio, waarbij Coryell rockier klinkt dan 'ie in jaren gedaan heeft. Op het programma staan bewerkingen van stukken uit diverse genres: rock (Led Zeppelins "Black Dog"), blues (het veelgespeelde "Born Under A Bad Sign") en jazz (Wayne Shorters "Footprints") alsook funk (James Browns "Sex Machine"). De heren geven er natuurlijk hun eigen draai aan en laten hun niet geringe virtuositeit op hun instrument horen.
36 tracks van platen die deze invloedrijke fusiongitarist maakte in de periode 1970-1979 voor het Vanguard-label, met de nadruk op werk uit de eerste jaren. Niet gek, want platen als 'Lady Coryell' en 'Coryell' waren van grote invloed op de ontwikkeling van fusiongitaar en op de spelstijl van collega's als Al Di Meola, John McLaughlin en Bill Connors.
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