"This is all Coltrane, from his early/middle/late period, whatever that means!" laughs guitarist Larry Coryell. He is sitting backstage in the green room at Iridium in 2009, describing a chart he is about to try out with organist Joey DeFrancesco
. "And then this part here is very much like 'All Blues,' like Miles," he says, humming the line: "Bah-deh-doo-deh, DAY-deh-doo-dee, doo-dah-doo-dah, duhit's in that same chord, that same mode." Indicating the next section, he continues, "And then it goes, here, into something more like Stan Kenton, there [pointing] and then it gets into an implied 12-tone fugue later on here," he says, singing the part: "Bah-doo-dah-duh, bah-doo-dah-DAH, doo-dah dah, doo-dah dah, dah-dahlike that." The chart, a so-called 'production number,' serves as a microcosm of Coryell's career, a mixing and matching of improvised musics that, for all its eclectic experimentation, still retains a distinct musical personality. "With jazz as a foundation, the music that we do can be taken in any direction, as long as the quality stays good [and] there's a musical reason [for it]." And what qualifies as a good reason? That, he affirms, can't really be verbalized: "It either works or it doesn't."
Born in Galveston, TX, congenitally deaf in his right ear, transplanted to Richland in southeast Washington State at seven, Coryell fell in love with guitar playing early on, listening to records like Chet Atkins' Finger Style Guitar (his first) and trying to cop licks off the radio hit parade, like Billy Butler's playing on Bill Doggett's "Honky Tonk, Pt. I" or Rick Derringer's solo on "Hang On Sloopy." He took lessons with John LaChappelle, a local jazz player, and tried to copy the styles of jazz guitarists Tal Farlow, Barney Kessel, Les Paul and Johnny Smith from their recordings.
After high school, Coryell briefly gigged around the Tri-City area, playing blues and rhythm and blues, then moved to Seattle, ostensibly to study journalism but in fact spending most of his energy making the local jazz scene, where he jammed with Gabor Szabo
and even got a chance to hang out with Wes Montgomery
. Coryell's perfectionist attitude and strong work ethic began to manifest themselves as his guitar technique and reputation began to grow, alongside his more destructive appetites for drugs and alcohol.
At 22, Coryell was a big fish in the Seattle jazz pond, dreaming of deeper waters, so he packed his Gibson Super 400 and two amps into a partially-paid-for blue Volkswagon Beetle and drove out to New York City, arriving in September 1965, where he checked out musicians like Grant Green and Charles Lloyd, experimented with LSD, consorted with rock-blues guitarists Robbie Robertson and Michael Bloomfield, sat in at Monday night Village Vanguard jam sessions hosted by Rahsaan Roland Kirk
, babysat for neighbor Joanne Brackeen and played with avant-jazzers like Bob Moses
and Jim Pepper.
The move proved to be a crucial factor in Coryell's development. "[W]hen you listened to this cutting-edge music in New York City," he notes in his 2007 autobiography, Improvising: My Life in Music
(Backbeat Books), "played by true masters of the idiom, it took on a more profound quality. It was as if the players needed the hardships and obstacles they encountered while struggling to make it in New York to be pushed to their highest level...If you survive the fires of competition and intimidation, your sword will be forged into a strong instrument."
It didn't take long for the ambitious guitarist to plug into the scene, making his first recorded appearance soon after on Chico Hamilton
's The Dealer
, followed by Out of Sight and Sound
with his own group, The Free Spirits, with Moses, Pepper and bassist Chris Hills, a stint touring and recording with vibraphonist Gary Burton's band (including the seminal A Genuine Tong Funeral
), which at the time included bassist Steve Swallow and drummer Roy Haynes, and even a free jazz session with The Jazz Composer's Orchestra (Communications
, JCOA 1968). From the onset Coryell's style was unique, blending elements of blues, rock, country and jazz in ways that, despite making obvious references, avoided overt plagiarism or clichés. Attracted to the heavily amplified electric blues of Jimi Hendrix and Eric Clapton, as well as acoustic finger-stylists like Martin Taylor and Lenny Breau, he sought a hybrid sound that would incorporate all of these influences. "I wanted to improve the intellectual content of the limited phraseology of rock and blues playing," he notes in his book, "and, at the same time, to inject more 'down home,' blues-based energy into jazz ideas." In achieving this balance, Coryell became a founding father figure to a legacy of fusion guitarists such as John McLaughlin, Bill Connors, Al Di Meola, Allan Holdsworth, Steve Kahn, Scott Henderson and Mike Stern, among others.