1. Sanpaku (10:41)
2. Back To The Russia (6:15)
3. If Miles Were Here (7:01)
4. Improv On 97 (5:05)
5. Penultimate (6:30)
6. Manteca (8:22)
7. Blue Your Mind (8:26)

Larry Coryell – guitar
Lynne Arriale – piano
John Lee – bass
Lee Pierson – drums

Much to the excitement of music aficionados worldwide, Jazz guitar icon Larry Coryell, one of the most respected and celebrated guitarists of his generation, offers a brand new album of seven original compositions titled Barefoot Man: Sanpaku.

Says Larry, “I was inspired by John Lappen's suggestion that I do a recording similar to one that I did in the '70s that had a lot of energy. Using that as a template I carved out several compositions that I felt would be appropriate. The result was better than I expected; I had a great rhythm section in John Lee and Lee Pierson, and the soloists from Florida, Lynne Arriale and Dan Jordan, played on a world class level. Michael Franklin's production was hands off except for a few relevant suggestions that really helped round out the project.” ---William James, news.allaboutjazz.com

Produced by Bob Thiele and recorded at Electric Lady studios with engineer Eddie Kramer, Barefoot Boy is one of Larry Coryell's finest recordings as a leader. "Gypsy Queen" was recorded prior to bassist Mervin Bronson's arrival at the studio, and features the percussion section locking into a groove over which Coryell lays down a riff and Steve Marcus cuts loose with a fiery soprano sax solo. When it's his turn to solo on this opening number, Coryell turns up the heat, sounding like a cross between Jimi Hendrix and Sonny Sharrock. (Coryell played with Sharrock on Herbie Mann's Memphis Underground.) "The Great Escape" finds Coryell cooking over a bass and percussion groove, with Marcus on tenor sax. "Call to the Higher Consciousness" is a side-long 20-minute jam in which all the players take a ride, with Marcus once again cooking on the soprano sax. Roy Haynes is superb throughout, working in tandem with the percussionists to keep the music moving. This recording is a noteworthy example of the possibilities inherent in the early days of fusion, blending the electrifying energy of rock with the improvisational excitement of jazz. ---Jim Newson, allmusic.com

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1 The Harbor (Cammi, Caymmi) 5:42
2 Old City New City (Coryell) 4:47
3 The Crab Peddler (Caymmi) 3:44
4 Oshum, Goddess of Love (Harrison) 4:09
5 Bloco Loco (Coryell) 7:12
6 Panama (Cobham) 3:39
7 Bahian Night Walk (Assumpcao, Avellar, Montarroyos) 10:14
8 Gabriela’s Song (Caymmi) 3:02
9 Vera Cruz (Nascimento) 9:01

Credits:
Nico Assumpção - Guitar, Bass (Electric)
Luiz Avellar - Keyboards
Dori Caymmi - Guitar (Acoustic), Guitar, Vocals
Francisco Centeno - Bass, Bass (Electric)
Billy Cobham - Drums
Larry Coryell - Guitar (Acoustic), Guitar, Guitar (Electric)
Donald Harrison - Sax (Alto), Sax (Soprano), Soprano (Vocal)
Bashiri Johnson - Percussion
Romero Lubambo - Guitar (Acoustic), Guitar, Guitar (Electric)
Monica Millet - Percussion
Marcio Montarroyos - Trumpet
Tiao Oliveira – Percussion

In November 1991, Larry Coryell, Billy Cobham, Donald Harrison and Dori Caymmi were gathered from far corners of the world to join a collection of Brazilian musicians to perform one classic after another. Larry Coryell, the pioneering guitarist who virtually created the amalgam genre of "fusion" music, plays both acoustic and electric here.

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1. Wolfbane (6:05)
2. BB Blues (5:01)
3. So What (6:17)                     play
4. Sex Machine (7:17)
5. Black Dog (6:14)                   play
6. Footprints (7:24)
7. Born Under A Bad Sign (7:49)
8. Lowblow (7:11)
9. Rhapsody And Blues (4:12)

Credits:
Larry Coryell - Guitar
Victor Bailey - Bass
Lenny White – Drums

That lineup conjures musical magic in the minds of Jazz Rock fans, and rightfully so. Larry Coryell was a true Jazz Rock pioneer and arguably inventor as well. Lenny White the legendary drummer in Return to Forever and on the groundbreaking Miles Davis Bitches Brew recordings, is a monster often overlooked by fans in favor of flashier style drummers. Victory Bailey originally "that guy that took over for Pastorius" in Weather Report has grown into a phenomenal musician in every respect. Then for the icing on the cake, the Cd is on Chesky, well known for their extremely high quality recordings. I was really putting high expectations on this recording for all those reasons.

For those of you not familiar with Home Theater or Multi-Channel recordings, you might experience an ambience you're not used to. Anyone with a DVD-Audio or SACD player will tell you. Don't let that fool you, the recording is really amazing and I enjoyed both Stereo and Multi-Channel listening.

If there's an issue with the performance on this Cd, you have to keep in mind that the type of recording made here is virtually live in the studio. If anyone remembers the vinyl Direct to Disk recordings, I'm sure they'll also remember the performances were usually not as polished as a typical studio productions. Same thing here, basically because the recording is so good, you hear every nuance of sound and most of us are not used to that. Consequently you will also hear flaws that might have been mixed into oblivion by standard studio productions. In addition this type of recording is like performing in the Olympics, you get one chance - there's no "takeovers". I have several Direct to Disk records including the Japanese released VSOP "Five Stars" , Herbie Hancock's "Direct Step", Paul Jackson's "Black Octopus" and The Great Jazz Trio's "Direct from LA", and they all have wrong notes, missed beats, and other minor flaws that would have probably been "fixed" in a standard recording.

I personally found the music on Electric to be disappointing at first, but dismiss that as having expectations that were not realistic and may revise that statement after a few more listens. In addition, this is not a recording of some young Jazz Rockers trying to blow your socks off. Rather, it's the sound of a relaxed trio of exceptional veterans playing some fun stuff together. They play a Led Zeppelin tune, a Sly Stone tune, a Miles Davis classic, and some original compositions. None of them show the slightest effort to push the envelope or break new ground, it's just good stuff.

Overall, this may not be the best Jazz Rock recording ever made, but it is certainly worth owning. Take your testosterone level down a few notches, sit back and enjoy a live concert by three of the finest musicians of our times. ---Rick Calic

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01. Seu Jorge E Dona Ica (6:00)
02. New Lute (Prelude) (1:34)
03. New Lute (Interlude) (3:14)
04. Soundtrack (4:17)
05. After The Rain (4:56)
06. Descending Grace (5:28)
07. Metamorphosis (4:03)
08. No Flight Tonight (4:24)
09. Ralph's Piano Waltz (5:09)
10. Suspended Circles (5:25)
11. Exercise In Fourths (2:33)
12. Autumn Breeze (3:30)
13. Tímeles (7:04)


John Abercrombie (acoustic guitar)
Badi Assad (vocals, copper flute, kalimba, nylon guitar)
Larry Coryell (acoustic guitar).

It's rare for three guitarists of this caliber to be assembled for a recording date. John Abercrombie claimed that he hadn't touched his acoustic guitar for three years prior to receiving an invitation to make this recording, though he was obviously ready when the tape rolled. Larry Coryell has made a number of acoustic recordings prior to this disc. Badi Assad's three previous CDs for Chesky have all merited high praise.

Assad contributed five compositions to the session, though the stunning opener, "Seu Jorge e Dona Ica," is hard to beat. She initially accompanies her fellow guitarists on a percussive instrument called a kalimba, which sounds like it originates from Africa. This six-minute work has several distinctive sections, including a bit of her mouth percussion. Her "After the Rain" showcases the intricate interplay between the three guitarists. The moody, march-like "Metamorphosis" also proves compelling, while her switch to copper flute with an interspersing vocal transforms the piece into borderline avant-garde.

Assad's body percussion introduces Abercrombie's challenging "Descending Grace," a piece full of surprising twists. His "Ralph's Piano Waltz" is every bit as difficult, but the players seem to tackle it effortlessly.

Coryell also brought several of his pieces to the sessions. "New Lute Prelude" was inspired by the late Brazilian guitarist Laurindo Almeida, it serves as a brief introduction to the much more laid-back "New Lute Interlude." He also composed two duets to play with Assad. The wild "No Flight Tonight" features her vocals and incredible mouth and body percussion as the sole accompaniment for Coryell. They also walk a musical tightrope together in his "Exercise in Fourths" without any slips. Highly recommended. ---Kem Dryden, Rovi

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1 	Judith Loves Jazz 	5:12
2 	Manic Depression 	3:58
3 	Door #3 	7:36
4 	Joyce's Favorite 	7:09
5 	Misterioso 	7:56
6 	Dedication 	5:37
7 	Drums & Bass 	7:18
8 	Jake's Lullaby 	3:43
9 	Overruled 	5:14
10 	Electric Jam 	9:00

Larry Coryell-Guitar (Acoustic), Guitar (Electric) 
Victor Bailey-Bass (Electric) 
Lenny White-Drums

Fusion guitar maestro Larry Coryell along with the redoubtable Victor Bailey ( bass ) and Lenny White ( drums ) re-unite for a follow up to the splendid 2005 "Electric" album, this time renting out a church album to hammer out another blistering jazz, rock and R&B set with suprises galore. Recorded straight with no overdubs using a state-of-the-art single mike recording method this disc once again captures the live atmosphere of the previous " Electric " with the individual musicians being even more laid back and adventurous as they cultivate a myriad of styles from Hendrix to Monk as well as creating their own magnificent compositions.

A largely electric set with Coryell on a hard body strat, he frequently nods back to his rockier formative years on tracks like Hendrix`s "Manic Depression" with a straight rock solo and the aptly titled "Overuled" which sounds at first like it could have been a lost Led Zeppelin track until Coryell unleashes a copious barrage of jazz chords. Two thoughtful acoustic numbers, an interpretation White`s previous "Dedication" and his own solo jazz/classical piece "Jake`s Lullaby" and Bailey`s " Joyce`s Favourite" feature Coryell on the instrument which dominated his late 70s output. Bailey and White`s superlative talents are also showcased throughout with Coryell sitting out on Bass & Drums which demonstrate their metric techniques on this funky workout demonstrating Bailey`s bang-up chording technique. The real manna on the album is the almost compulsory Thelonious Monk pilgrimage. After listening to Bonnie Riat`s slide techniques on his car radio Coryell makes history by turning Monk`s " Mysterioso" into a country romp! Perhaps the first time Coryell has been heard on record using a slide and the result of this country/jazz meld is exactly what one would expect from the father of fusion guitar when he turns it into a full out straight jazz rave-up at the end. Phew! This one alone is worth the price of the disc!

It`s very refreshing to see Coryell visiting aspects of his past well into his sixties. This project along with the previous "Electric" are testimonies that he`s lost nothing and always has something devious up his sleeve. Along with the stalwart contributions from Bailey and White "Traffic" provides one of Coryell`s most reachable recordings in the new millenium as he turns back the clock, delving into his treasure trove of musical faculties. ---Vibrationbaby, progarchives.com

CBW is back with their second album and Mr. Coryell, Mr. Bailey and Mr. White show why they're the best power trio slash jazz fusion group working today. By and large, big name recognition has eluded Larry Coryell despite his considerable talents. Larry will tell you that Jimi Hendrix is, hands down, the best guitarist ever. In the same breath, he'll tell you he resents him because it feels like his life was stolen from him. At roughly the same time as Jimi, Larry Coryell was blasting out fiery lick after lick and is widely regarded as the father of jazz fusion guitar. Doesn't seem fair that one man is a legend and the other man is acknowledged as one of the founders of a genre that many people think died back in the seventies. Stylistically, this album is more diverse than the first album, reminding his audience that Larry is equally at home playing straight jazz as well. Oh yeah, the other two guys, Victor Bailey and Lenny White, are pretty darned good as well. Seems like I've heard their names some place before. I think maybe they played fusion as well. Tongue planted firmly in cheek. One of my favorites of the year. ---John Terry, amazon.com

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