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LARRY CORYELL was one of the world’s acknowledged guitar masters. He has recorded more than 75 albums over the past 40 years as a bandleader, soloist and ‘featured accompanist’. Hailed by his legion of fans as one of “the guitar gods” in the late 1970s and as a “truly Renaissance musician who excels at all styles of playing”, he has also been christened as “a true pioneer of rock-jazz fusion” by the New York Times, and dubbed “the Godfather of Fusion” by Dan Ouellette of Down Beat Magazine.

Born in Galveston, Texas, Larry tried his hand at a number of instruments before settling on the guitar. He credits Chet Atkins, Chuck Berry and (later on) Wes Montgomery, as his prime influences.

Larry arrived in New York City via Seattle in 1965, and began honing his formidable instrumental skill as the basis for his musical expression. To master every aspect of the guitar, Larry also studied classical guitar with Leonid Bolotine. After developing the first incarnation of his virtuoso technique Larry played his “first big time job” with Killer Joe Piro. National recognition then came during his tenure with the Gary Burton Quartet in 1967.

The late 60s thru early 70s saw Larry as one of the most in-demand guitarists in Rock, Jazz and all musical genres. During that time Larry was part of Rock’s experimentation, and toured with Jack Bruce, and was featured in sessions with Jimmy Webb, the 5th Dimension, Charles Mingus, Billy Cobham, Chick Corea and John McLaughlin. Through the albums produced during this period, Larry Coryell emerged as a profound music prophet who merged Rock, Jazz, Eastern modes and scales and free-form improv flashing Classical riffs.

In 1974 Larry formed The 11th House , the most popular and successful Fusion band of its time, which included his friend and colleague Randy Brecker. After The 11th House disbanded, Larry was signed by Clive Davis for Arista Records, where he made a series of solo albums, followed by a direct-to-disc recording with the Brecker Brothers.

Larry Coryell’s recordings and live concert performances have run the gamut from clubs large and small, and concert venues large and small from the 1980s thru today. A regular headliner at the Blue Note and Iridium in New York City, Catalina’s in L.A., Blues Alley in Washington DC and Ronnie Scott’s in London to Porgie & Bess’ in Vienna. Larry is also no stranger to the huge open-air music festivals in the FarEast, Europe, Brazil, even sell-out appearances at London’s Barbican.

In 2007 The Hal Leonard Corporation released Larry’s Autobiography “Improvising, My Life In Music” and a retrospective print folio of Larry’s own compositions, with works representing the full span of his 40 years-and-counting as a professional musician, composer and innovator. Going back to his former alma mater , the University of Washington, Larry has brought his knowledge and professional technique to top-level music students in recent years, adding to his stature as “one who can DO, as well as teach” already established by his 2 hard-cover books on the subject published by Miller- Freeman.

Larry has designed and is spokesman for his own professional line of guitars made by Cort. He also endorses Parker Guitars, Sibelius Music Software, DR Strings and the Henriksen “Jazz Amp”.

The most recent recordings Larry has done are available on Chesky Records (“Impressions”, “Traffic“ & “Electric“), Rhombus Records (“Laid Back & Blues” ), HighNote (“Cedars Of Avalon”), and Favored Nations(“Tricycles”) .

I want to mention to our visitors to the website a personal anniversary, September 3, 1965; that was the day I arrived in New York from Seattle to begin my jazz guitar career in earnest. That night I went to the Village Vanguard to hear the Charles Lloyd Quartet. In the club, I happened to sit next to another young guitarist–his name was Joe Beck. Little did I know it that it was the beginning of a great friendship. Joe was one of the best musicians I ever knew–he could play great guitar, was an accomplished arranger, and an amazing composer. He was also one of the greatest human beings I have encountered in my lifetime. Joe passed away after fighting a long illness in late July–and I’m glad that Tracey and I and my son Murali were able to visit him at his home in Connecticut in April of this year. Ironically, Hiram Bullock, another great friend and outstanding musician, died around the same time that Joe passed. The loss of two great artists almost simultaneously is really too much to bear, but in my sorrow I have to make sure these two great men get mentioned, not only for all the stellar work they did with music, but for their unique humanity. As a a rule, great artists are also great people, and Joe and Hiram were no execption. They were both very, very funny. It’s important to have a healthy sense of humor in our business. I never had the opportunity to record with Hiram, but I did do several recordings with Joe, most notably an Arista three-guitar release called “Tributaries”, along with John Scofield. Joe wrote a song for that date called “Mother’s Day.” It is a great tune; I’ll never forget it, and I’ll never forget Joe. The same “unforgettable” quality goes also for Hiram: I once saw him go up on stage to sit in with Doctor John and his group at Buddy Guy’s in Chicago and Hiram performed as if he had been in the group his whole life–I mean, he sang all the background parts, played perfect guitar fills, and even did a little show-biz dance-type moves to augment the Night Tripper’s “gri-gris” Cajun groove. Hiram, like Joe, will be sorely missed. The only way I can deal with these losses is to pretend to myself that both Joe and Hiram are out of town on an extended tour, and when that tour is over, they’ll be back. Here’s a prayer to their swift return . . . .

Best regards to all,
Larry C

09.28.08