Thursday, February 23, 2017

Eddie "Cleanhead" Vinson - 1971 - You Can't Make Love Alone

Eddie "Cleanhead" Vinson  
1971 
You Can't Make Love Alone




01. Straight No Chaser
02. Cleanhead Blues
03. You Can't Make Love Alone
04. I Had A Dream
05. Person To Person

Bass – Chuck Rainey
Drums – Bernard Purdie
Guitar – Cornell Dupree, Larry Coryell
Piano – Neal Creque
Vocals, Alto Saxophone – Eddie "Cleanhead" Vinson

Recorded "live" in Montreux, Switzerland. Recorded June 18, 1971.




Eddie "Cleanhead" Vinson was in inspired form at the 1971 Montreux Jazz Festival. He stole the show when he sat in with Oliver Nelson's big band during their "Swiss Suite" and played a brilliant blues alto solo. The same day he recorded this Mega album but, due to its extreme brevity (under 24 minutes), perhaps this label should have changed its name to "Mini." Despite the low quantity, the quality of his performance (on which Vinson is joined by the guitars of Larry Coryell and Cornell Dupree, pianist Neal Creque, bassist Chuck Rainey and drummer Pretty Purdie) makes this album still worth acquiring, although preferably at a budget price. Vinson takes "Straight No Chaser" as an instrumental and does a fine job of singing "Cleanhead Blues," "You Can't Make Love Alone," "I Had a Dream" and "Person to Person."

Chico O'Farrill - 1966 - Nine Flags

Chico O'Farrill 
1966
Nine Flags




01. Live Oak 2:41
02. Patcham 4:01
03. Aromatic Tabac 4:17
04. Dry Citrus 3:30
05. Royal Saddle 2:42
06. Panache 2:45
07. Green Moss 4:30
08. Manzanilla 4:23
09. Clear Spruce 3:28
10. The Lady From Nine Flags 3:00

Bass – George Duvivier
Drums – Don Lamond (tracks: A1, A5, B1, B5), Gus Johnson (tracks: A4, B2, B4), Mel Lewis (tracks: A2, A3, B3)
French Horn – Julius Watkins (tracks: A1 to A3, A5, B1, B3, B5)
Guitar – Larry Coryell (tracks: A4, B2, B4)
Leader – Chico O'Farrill
Percussion – Carl Hard (tracks: A2, A3, B3)
Piano – Pat Rebillot (tracks: A2 to A4, B2 to B4)
Saxophone [Tenor] – Seldon Powell (tracks: A4, B2, B4)
Trombone – Benny Powell (tracks: A1, A5, B1, B5), Harry Divito (tracks: A1, A5, B1, B5), J.J. Johnson (tracks: A2 to A4, B2 to B4), Urbie Green (tracks: A1, A5, B1, B5)
Trumpet – Art Farmer (tracks: A1 to A3, A5, B1, B3, B5), Bernie Glow (tracks: A1, A5, B1, B5), Jimmy Nottingham (tracks: A1, A5, B1, B5)
Trumpet, Flugelhorn – Clark Terry
Woodwind – Ed Wasserman (tracks: A1, A5, B1, B5), Frank Wess (tracks: A1, A5, B1, B5), Jerry Dodgion (tracks: A1, A5, B1, B5), Joe Firrantello* (tracks: A2, A3, B3), Seldon Powell (tracks: A2, A3, B3)

Original US Stereo release



One of arranger Chico O'Farrill's few jazz recordings of the 1954-94 period, this LP pays tribute to nine different countries, which were represented at the time by Nine Flags fragrances. The ten pieces (which include "The Lady from Nine Flags") have originals influenced by the music of Brazil, England, France, Germany, Hong Kong, Ireland, Italy, Spain and Sweden. The overall music is quite different from O'Farrill's usual Afro-Cuban jazz outings. He features three different groups ranging from a septet to a 15-piece orchestra, assigning solo space to such fine players as trombonist J.J. Johnson, flugelhornists Art Farmer and Clark Terry and guitarist Larry Coryell (one of his earliest recordings). None of the individual songs caught on, and the interpretations are usually quite concise, but this LP (which has not yet been reissued) is generally quite fun.

Chico Hamilton - 1966 - The Dealer

Chico Hamilton 
1966
The Dealer





01. The Dealer 6:20
02. For Mods Only 4:24
03. A Trip 6:35
04. Baby, You Know 3:55
05. Larry Of Arabia 5:08
06. Thoughts 6:28
07. Jim-Jeannie 5:45


Alto Saxophone – Arnie Lawrence (tracks: A1 to A4, B2, B3)
Bass – Richard Davis
Drums, Percussion – Chico Hamilton
Guitar [Introducing] – Larry Coryell

Recorded September 18, 1966.



Drummer Chico Hamilton introduced many top young players during his years as a bandleader, but few probably realize that Larry Coryell made his recording debut with Chico a year before joining Gary Burton's quartet. The Dealer marks Coryell's initial appearance on record, and at times he sounded oddly like Chuck Berry (especially on "The Dealer"). Also heard on this set are altoist Arnie Lawrence, bassist Richard Davis, organist Ernie Hayes (on two numbers), and, on his spirited boogaloo "For Mods Only," Archie Shepp making a rare appearance on piano. Most of the performances still sound surprisingly fresh, especially the explorative "A Trip," making this an underrated but worthy release.

Gary Burton - 1968 - A Genuine Tong Funeral

Gary Burton 
1968
A Genuine Tong Funeral





01. The Opening; Interlude (Shovels); The Survivors; Grave Train
02. Death Rolls
03. Morning - Part One
04. Interlude: "Lament"; Intermission Music
05. Silent Spring
06. Fanfare; Mother Of The Dead Man
07. Some Dirge
08. Morning - Part Two
09. The New Funeral March
10. The New National Anthem; The Survivors


Bass – Steve Swallow
Drums – Lonesome Dragon
Guitar – Larry Coryell
Piano, Organ, Conductor – Carla Bley
Soprano Saxophone – Steve Lacy
Tenor Saxophone – Leandro "Gato" Barbieri
Trombone, Trombone [Bass] – Jimmy Knepper
Trumpet – Mike Mantler
Tuba, Saxophone [Barytone] – Howard Johnson
Vibraphone – Gary Burton



One of vibraphonist Gary Burton's most intriguing recordings, A Genuine Tong Funeral (Carla Bley's suite which musically depicts attitudes toward death) was called by its composer a "Dark Opera Without Words." Burton's classic Quartet (which also includes guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses) is augmented by six notable all-stars: soprano saxophonist Steve Lacy, trumpeter Mike Mantler, Gato Barbieri on tenor, trombonist Jimmy Knepper, Howard Johnson on tuba and baritone and Bley herself on piano and organ. The music is dramatic, occasionally a little humorous, and a superb showcase for Gary Burton's vibes.

Gary Burton - 1967 - Lofty Fake Anagram

Gary Burton 
1967
Lofty Fake Anagram




01. June The 15, 1967 4:50
02. Feelings And Things 4:05
03. Fleurette Africaine 3:36
04. I'm Your Pal 3:03
05. Lines 3:10
06. The Beach 3:41
07. Mother Of The Dead Man 4:37
08. Good Citizen Swallow 5:34
09. General Mojo Cuts Up 4:36

Bass – Steve Swallow
Drums – Bobby Moses
Engineer – Ray Hall, Richie Schmitt
Guitar – Larry Coryell
Producer – Brad McCuen, Darol Rice
Vibraphone – Gary Burton

Recorded at RCA Victor's Music Center Of The World, Hollywood, CA on August 15, 1967 - August 17, 1967.



The second recording of guitarist Larry Coryell as part of the Gary Burton Quartet (which included the vibraphonist/leader, bassist Steve Swallow and drummer Bobby Moses) is more memorable for the sound of the group than for any of the eight originals by Burton, Swallow, Carla Bley or Michael Gibbs. In fact, the closest piece to a "standard," Duke Ellington's then-recent "Fleurette Africaine," has the catchiest melody. But it is the interplay between Burton and the rockish Coryell in this early fusion group (predating Miles Davis' Bitches Brew by two years) that makes this session most notable.

Gary Burton - 1967 - Duster

Gary Burton 
1967
Duster




01. Ballet 4:55
02. Sweet Rain 4:23
03. Portsmouth Figurations 2:56
04. General Mojo's Well Laid Plan 4:57
05. One, Two, 1-2-3-4 5:55
06. Sing Me Softly Of The Blues 4:02
07. Liturgy 3:24
08. Response 2:10

Bass – Steve Swallow
Drums – Roy Haynes
Engineer – Ray Hall
Guitar – Larry Coryell
Producer – Brad McCuen
Vibraphone [Vibes] – Gary Burton



In some ways, Duster can be considered one of the first fusion records. Vibraphonist Gary Burton had just added the young rock/blues guitarist Larry Coryell to his quartet (which also included bassist Steve Swallow and drummer Roy Haynes), and Coryell's influence can be felt throughout the performances. Highlights include Michael Gibbs' "Sweet Rain," Swallow's "General Mojo's Well Laid Plan," Coryell's exploratory and speedy "One, Two, 1-2-3-4," and Carla Bley's "Sing Me Softly of the Blues." Although Burton's basic sound had not changed during from the previous year, his openness toward other styles made his Quartet one of the most significant jazz groups of the period. This was the first of the four Burton-Coryell recordings.

Paco de Lucia - 1981 - Castro Marin

Paco de Lucia 
1981 
Castro Marin




01. Monasterio De Sal (Colombiana) 4:44
02. Gitanos Andaluces (Bulerías) 4:53
03. Castro Marin (Fandangos) 4:13
04. Herencia (Soleá) 5:37
05. Convite (Rumba) 5:08
06. Palenque 7:23
07. Huida 3:58

Acoustic Guitar - Paco De Lucia
Acoustic Guitar – Larry Coryell
Acoustic Guitar, Twelve-String Guitar – John McLaughlin



This collection includes guitar duets and some ensemble work of moderate size, well into the phase when Paco was innovating quite a lot, integrating some jazz and pop elements. Unlike most innovators in flamenco, however, he still managed to retain the respect of serious critics, such as Robin Tottin (Song of the Outcasts: An Introduction to Flamenco (2003)).

Of course, there are critics of every art form who will never be satisfied unless the most conservative norms imaginable are followed. These people have their own function, but not as arbiters of deep musical value. Such value is found in Paco. This is beautiful music. However, don't pick up this album, or anything by Paco made more than a few years into his career, thinking that you're getting the basic idea of flamenco. Like anything Iberian, flamenco is in its essence conservative; one can listen to Beethoven without knowing Hayden and Mozart, but to get much out of Paco, you have to know where he came from.

Larry Coryell and the Brubeck Brothers - 1978 - Better Than Live

Larry Coryell and the Brubeck Brothers 
1978 
Better Than Live




01. Fire Serpent 5:35
02. In The Spanish Mode 7:25
03. The Midnight Sailor 8:18
04. Mirth 4:58
05. The Secret One 8:35
06. Just Like Being Born 5:39

Drums, Percussion – Danny Brubeck
Electric Bass – Chris Brubeck
Electric Guitar, Acoustic Guitar – Larry Coryell
Piano, Electric Piano [Rhodes], Clarinet, Synthesizer [Arp Odyssey, Dgx, Omni] – Darius Brubeck



Larry Coryell and the Brubeck Brothers (keyboardist Darius Brubeck, electric bassist Chris Brubeck and drummer Dan Brubeck) initially recorded these sessions for Direct Disk, though there is multi-tracking involved, so this isn't actually a direct-to-disc recordings. Like many fusion sessions from the late '70s, this record hasn't stood the test of time particularly well. Coryell's rather pedestrian "Fire Serpent" especially grows tiresome quickly. Not purely a fusion album, Darius Brubeck switches to an acoustic piano for his enchanting "In the Spanish Mode;" the keyboardist also contributed three other songs to the LP. Although hardly essential to fans of Larry Coryell, this long out of print LP will be somewhat hard to find due to the label's relatively short life.

Larry Coryell & Steve Khan - 1976 - Two For The Road

Larry Coryell & Steve Khan
1976
Two For The Road




01. Spain
02. Bouqet
03. Son Of Stiffneck
04. Ju Ju
05. St. Gallen
06. Footprints
07. General Mojo`s Well Laid Plan
08. Toronto Under Sign Of Capricorn
09. For Philip & Django
10. Rodrigo Reflections

Recorded Live on tour 1975-1976

- Larry Coryell / guitar
- Steve Kahn / guitar



Intermittently on the road as an acoustic duo between gaps in the schedules of their respective ultra-hip fusion bands, Larry Coryell and Steve Khan managed to record several shows and then panned the tape stream to find the nuggets for posterity. There are choices that might have been made out of the fashions of the day, such as the version of Chick Corea's "Spain" that opens the album's first side. Thankfully there are also selections that are here because both guitarists must have realized they were playing magnificently.
Coryell's flair for Wayne Shorter extends beyond simply mastering the tunes to conceptualizing unique guitar settings. Parts of "Juju"'s head are pronounced in simple, chiming harmonics, a delightful way of pointing out that these players understand the guitar in its totality, not just the parts of it that can be used to impress speedfreaks. The hot version of "Footprints" doesn't really express the mystery of Shorter's original mood, yet is terrifically in line with the Django Reinhardt approach to playing a tune, once again full of the kinds of activities fans of acoustic guitar music will find pleasurable.
"St. Gallen" is, in some ways, a remarkable performance. The long introduction sounds like a solo from Coryell, parts of which might be the missing link between him and Derek Bailey. An episode thick with minor seconds and low, throbbing dissonance is only one of many stops on a route that in some ways is as breathtaking as the "milk run" that leaves the St. Gallen station and heads into the Swiss Alps, stopping at farmhouses along the way to pick up fresh dairy shipments. Prior to evoking this image, the piece in its initial moments includes passages of purely show-off rapidity culminating in a lethal swipe at the bridge, the equivalent of a mad critic throwing a knife at a fusion guitarist mid-solo stream.
Khan's admiration for his partner is evident from the liner notes alone. His own style is edgy and observant, and while he doesn't sound simply like someone trying to keep up, he too easily agrees to participate in moments of pieces that come off as more or less typical jamming, such as "Son of Stiff Neck." As for the previously mentioned "Spain," it's too bad they went there -- although anybody performing on this scene during this era was expected to play this "In the Midnight Hour" of jazz standards. A chord emphasized much beyond its importance immediately sets the stage for a flat performance in which the main question listeners might ask themselves is why are there so many notes in the theme -- not the desired reaction when performing a head. The live recording quality is excellent, the tracks fading quickly when the applause begins.

Larry Coryell - 1979 - Return

Larry Coryell 
1979
Return




01. Cissco At The Disco
02. Rue Gregoire Du Tour
03. Five Mile Island
04. Return
05. Sweet Shuffle
06. Mediterranean Sundance / Entre Dos Aguas

Recorder June 4-6 at Vanguard Studios, NYC

- Larry Coryell / Guitar
- Darius Brubeck / Piano
- Chris Brubeck / Bass
- Dan Brubeck / Drums
- Ray Mantilla / Percussion



Larry Coryell made his earliest recordings as a leader for Vanguard and most of his sessions from 1968-75. After working for a variety of other labels, he came back for this lone effort in 1979. Coryell's basic sound was still the same as in his early fusion days, but the setting had changed. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including "Cisco at the Disco"), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. Although not one of his most significant dates, Larry Coryell sounds in fine form throughout this modern mainstream LP, stretching himself a bit.

This is one of my favourite Larry Coryell albums. Dangerously close to soft jazz this is an album with the Brubeck brothers that is irresistably energetic. There is so much passion and joy in this and Larry's trademark chunky sound together with technical playing which is clearly by a man back at the top of his form makes this a must buy. In my opinion Larry is always stronger when he avoids too much technical pyrotecnics and just burns from the heart. The melodious nature of the tunes means that Larry has a platform from which he effortlessly churns out singing, soulful and inspirational solos side after side. And the sidemen aren't half bad either. A shortish recording but each and every song is a gem...what more could you want?

I first met the Larry Coryell/Brubeck Brothers band on a rare, direct-to-disk recording ("Better than Live") that would become my all-time favourite musical moment. And it still is. So I spent a few years looking for another collaboration, even asked Larry himself(!) until I found this one. Although there's not as much magic in "Return" than in "Better than Live", the former still deserves the best appreciation. Larry has the Magic Touch. He is the Divine Guitar, and the he and the Brubeck Brothers are the best of the late-70s Jazz-Rock bands.

Larry Coryell came back for this lone effort with Vanguard Records in 1979. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan - yes, they are Dave Brubeck's sons!), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including "Cisco at the Disco"), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia.
Now many critics will state that this effort by Coryell was not one of his most significant projects, but I challenge the listener/buyer to check it out regardless of what a few critics may say.
Larry Coryell, always in fine form throughly kicks it up many notches on the CD title cut, 'Return', which, when I blast this song from my car while riding down the street, I'm always asked, "Who's that jammin' on the axe?!" Obviously, guitar aficionados recognize "GREATNESS" when they hear it!

Larry Coryell - 1978 - Standing Ovation

Larry Coryell 
1978 
Standing Ovation




01. Discotexas (3:23)
02. Excerpt (3:56)
03. Ravel (3:42)
04. Wonderful Wolfgang (4:47)
05. Piano Improvisation (2:03)
06. Sweet Shuffle (4:52)
07. Moon (3:25)
08. Park It Where You Want (1:43)
09. Spiritual Dance (7:35)


- Larry Coryell / 6-string Ovation, 12-string Ovation, Seinway-Flugel
- Dr. L. Subramniam / Violin, Tambura (on 9)

Recorded and mixed 8.3.-11.3.78 at Tonstudio Zuckerfabrik Stuttgart
Mastered at Tonstudio Brüggemann Frankfurt/Main



Named after the guitar brand he uses, this album also implies "solo" written on the same level as the album. Indeed Standing Ovation sits firmly well in the late 70's acoustic period of LC, beit solo or in duo, PC or SK and later the Meting Of The Spirit trio with PDL and JMcL. So we have an album where LC plays an excellent relaxing acoustic guitar, shifting from 16 to 12 strings at will, with one track where he tries himself on the piano, aptly titles Piano Improvisation and one more track, an Indian raga where he's accompanied by violinist Subramanian. The acoustic guitar pieces (all written by him) range from roughly 2 minutes to just below five and show LC in varying moods featuring his mastery of the guitar and the depth of his talent, but the usual Reinhardt influences are certainly not as audible as it is on his other albums of the time. Progheads will have a preference for the Indian raga Spiritual dance and its 7-mins+ music happiness, the only non-Coryell track of the album. As for LC's performance on the piano, it is adequate and demonstrates a good understanding of the instrument, but understandably he's less at ease. Not an essential album for progheads, although if you're a Coryell fan, it will quickly become one

Larry Coryell - 1978 - Live at Montreux

Larry Coryell & The Eleventh House
1978
Live at Montreux




01. Improvisation On Villa-Lobos (Prelude No 4 In E Minor) (3:07)
02. Tamari (4:31)
03. Joyride (9:30)
04. Rasputin (4:11)
05. Song For A New York Rainmaker (4:24)
06. Eleventh House Blues, The (8:06)

Recorded at the Montreaux Jazz and Pop Festival, Montreaux, Switzerland on July 4, 1974

- Larry Coryell / guitar
- Mike Mandel / keyboards
- Alphonse Mouzon / drums
- Michael Lawrence / trumpet
- Danny Trifan / bass



As a guise of an intro, the Montreux Festival of 1974 announcer remembers LC's previous passage on the shores of Leman Lake three years before (in 71) and documented with the Fairyland album, but here he comes with The Eleventh House. Most likely, when The Eleventh House recorded Aspects in 76, they had no idea this would be their last album, so Vanguard issued the tapes of their 74 festival as a live album, some four years after the recording took place, out of contractual obligations. And are we happy he did too. The album stands chronologically between Introducing and Level One, with trumpetist Randy Brecker already gone, but bassist Trifan is still there. While recorded in the festival, Weiss is still producing the album, and the label chose a Montreux city shot for an artwork.
After the opening acoustic guitar intro, the group plunges into wild fusion with the Mouzon-penned Tamari that was not studio recorded back then, but then again, it is the case for most of this concert's tracks. So in sort, this album could almost be seen as another full-fledged EH album. Indeed only Joyride (extended by three minutes) appears on another disc, but the "new" tracks are pure gems, such as the Mandel- penned Rasputin or EH Blues, both fitting perfectly the EH mould. Only Rainmaker is less-enthralling Rainmaker might seem a lesser track, but to actually take it into consideration as such would be nitpicking.

What an excellent way to close the three year bracket into Coryell's career called Eleventh house, even if this album comes well over two years after and sounds like a contractual wrapping-up. Nevertheless this album is as essential as the three studio albums and one that serious progheads can't afford to overlook if he's a serious Coryell fan.

Larry Coryell - 1978 - European Impressions

Larry Coryell 
1978 
European Impressions




01. Toronto Under The Sign Of Capricorn (8:38)
02. For Philip And Django (4:31)
03. Rodrigo Refrections (7:21)
04. April Seventh (5:50)
05. Silver Medley: Song For My Father / Sister Sadie (5:22)
06. Copenhagen Impressions (4:00)
07. Variations On A Theme (2:47)

- Larry Coryell / solo guitar

Side one recorded live at the Montreux Jazz Festival, Montreux, Switzerland by the Mountain Studio on July 23, 1978.

Side two recorded at Soundmixers, New York City on August 17, 1978.



This album is yet another acoustic guitar album that LC has gotten us used to in the late 70's, and here half the record is a recording of his third appearance at the Montreux festival in the summer of 78. The first time around (71), he had come with a rock group, the second time around (74), he was with his Eleventh House group, and this time around, he came as a solo acoustic guitarist, again reflecting well what he was up to at the time. With an alpine artwork and a long-haired Larry hunched over his Ovation guitar on the back cover, this album is an unaccompanied straight acoustic guitar album, the typical stuff LC was into in the late 70's, somewhere between Reinhardt and acoustic blues-jazz. Better investigate Lion & Ram album, to see if you could be into this one.

Larry Coryell - 1978 - Difference

Larry Coryell 
1978 
Difference




01. Octaves
02. Acoustic Solo
03. Memphis Underground
04. Improv
05. Picean Moon
06. Serabond
07. Aquarian Mode

- Larry Coryell / guitars
- Steve Khan / guitar, track 3
- Arthur Rhames / guitar, tracks 1,5,7
- Michael Brecker / saxophone, tracks 1,3,5,7
- David Sanborn / saxophone track 3
- Don Gronlick / keyboards, track 3
- Glen Moore / acoustic bas, tracks, 1,5,7
- Will Lee / electric bass, track 3
- Steve Gaad / drums, track 3
- Tony Williams / drums, tracks 1,3,5,7

Recorded at Electric Lady & Sound Ideas Studios in N.Y. and Montreux Festival 75.




Yet another outstanding Coryell album, and one of the most unashamed jazz-rock guitar albums, yet all to short IMHO in its duration. The usual guests are around, Tony Williams, Steve Khan, the Brecker brothers, etc. Although the album was recorded in 75, it didn't see the light of day until 78; indeed it is an assemblage of Electric Lady studio (the Hendrix facilities) recordings and the Montreux festival of the same year. The only things that would make this album a bit different is the label that issued it (Egg) and the unrelated sea photo artwork, as the rest makes it a typical Coryell album.

The opening Octaves is an excellent instrumental (the whole album is) where Brecker and Sanborn make remarkable sax interventions. Memphis Underground could easily sound as if it escaped an Eleventh House album, but the line-up is nowhere near the group's. Picean Moon is a rather chilling piece of jazz, sometimes nearing the dissonant.

As usual, there are acoustic guitar tracks, with the aptly titled Acoustic Solo (maybe a little lengthy, but we won't complain given the overall album duration), the short but nervous Improvisation (that's its name) and the duo flamenco-influenced Serabound, where Khan gets in act, but the track is unfocused. The closing Aquarian Mode is a rather cold and limit-dissonant piece where LC's guitar is a bit overpowering.

Again I wouldn't call Difference anywhere close to essential, but it has its merits if you are a Coryell fan. But in the frame of this site, this album is expandable despite its share of interesting moments.

Larry Coryell - 1976 - The Lion And The Ram

Larry Coryell 
1976 
The Lion And The Ram




01. Larry Boogie ( 3:32 )
02. Stravinsky ( 3:15 )
03. Toy Soldiers ( 7:40 )
04. Short Time Around ( 4:03 )
05. Improvisation On Bach Lute Prelude ( 2:00 )
06. Song For My Friend`s Children ( 2:46 )
07. Bicenntenial Headfest ( 3:19 )
08. The Fifties ( 3:26 )
09. Domesticity ( 2:12 )
10. The Lion & The Ram ( 4:25 )

- Larry Coryell / guitar
- Joe Beck / Fender Rhodes bass string synthesiser, acoustic Guitar on track 10
- Mike Mandel / piano, bass synthesizer
- Danny Toan / guitar on track 3
- Michal Urbaniak / violin on track 10




The Lion And The Ram or The Return Of Julie Coryell is a rather atypical album of Coryell in the late 70's, where his acoustic guitar runs all over his records, but here he's not solo and there are some tracks played with a group. Yes, Julie's back and not only on the artwork cover, but also on the lyrics (sung by her husband) and somehow, this album is credited as an Eleventh House production, but can't be at all likened to that formation, even if Mike Mandell plays on the album.
While the first two tracks (Larry's Boogie and Stravinsky, where you won't find obvious Strav homage), the later not of Side A are your typical Coryell tunes of the time, the albums takes on a different aura with the lengthy Toy Soldiers, where he multi-tracked himself and uses the 12 strings as well. Anthony Phillips solo career not being far away, here. The side-closing Short Time Around is a full-group track, where LC sings (but it seems that he's lost his rather correct voice of the early 70's, as here it's cringey), but the end result is stuck between an early Steve Hackett solo album (especially the electric guitar part) and then Anthony Phillips' solo albums again.

The Bach piece opening the flipside brings nothing new and helps again the A Phillips reminder. The following Friend's Children is an exciting duet with Joe Beck on bass. The same Beck plays in an acoustic duo in Bicentennial Fest. Fifties and Domesticity are small acoustic tracks that don't stand out much, but fit nicely. The closing title-track is a bit the alter-ego of Short time around ending the other side, therefore hovering between Hackett and Phillips's late 70's albums.

Probably the most interesting post-11th House late 70's acoustic guitar album for progheads, it is warmly recommended if you want to check out this era of his career.