Subject: I have found a CD that I think you would enjoy
Landmark jazz guitar album
Ted Burke | San Diego | 02/02/2004
(5 out of 5 stars)
"In more than a few jazz encyclopedia's "Spaces" is listed as on of the greatest fusion albums ever made, which is simply wrong. Some reviewers simply haven't listened to the album in question. What you'll hear on this album is a straight ahead set of sessions of jazz improvisations where the two creaters of jazz-rock style, Coryell and John McLaughlin, leave volume and feedback behind. A beautifully realized album all around, from Coltranesque postbop on "Renee's Theme" to Coryell's impressionistic "Wrong is Right"; Coryell is the hard charger here, fleet, angular, filling in spaces with flurries of intricate note clusters, while McLaughlin is into spaces, silences, short fines, wonderful bits of filigree. Bassist Miroslov Vitous is terriic, and drummer Cobham works miracles throughout this wonderful wash of music."
Ted Burke | 05/08/2000
(4 out of 5 stars)
"If there's such a thing as "mellow hysteria," Larry Coryell has managed to tap into it on this album. His guitarwork here ripples with phrases that threaten to go off te deep end but somehow stay grounded and engaging. John McLaughlin holds his own here as well and the two of them trading solos on the title cut is wonderful to hear. Add ace support from Billy Cobham, Chick Corea and Miroslav Vitous (playing a bowed bass that sounds, well, other-worldly) and you have an album that wins you over without pummeling you to the ground. Real good."
A Bitches Brew-era masterwork
Robert Cossaboon | The happy land of Walworth, NY | 12/22/2004
(4 out of 5 stars)
"The Spaces album is of course remarkable, because of the presence Chick Corea, and of John McLauglhlin and Billy Cobham, core members of the legendary Mahavishnu Orchestra. This kind of fusion jazz would not be uncommon on a Bitches Brew session or a Birds of Fire album. Like many sophisticated pieces of music, it is difficult to listen to, as songs very rarely reach a crescendo, but instead go on like extended poetry readings. It is both fiery (the title track) and contemplative (Rene's Theme, Gloria's Step). Make no mistake, however, for this is not a guitar showcase album-you will not hear extended feedback soloing, fancy, enhanced studio trickery or particularly loud guitar workouts. This is a guitar virtuoso's album. Oftentimes it is very difficult to separate Coryell and McLauglhlin's playing. Both are furious pickers (they should've guested on Hee-Haw!) who work mostly in the acoustic mode. I get the sense that Coryell prefers the acoustic guitar and leaves much of electicising to McLauglhlin. Bassist Miroslav Vitous adds depth to many of the tracks (Gloria) on bowed bass. One of my favorite tracks is the "Wrong is Right" track where Coryell's playing approaches the near ferocity of a hail storm, albeit a somewhat quiet one. The one track Corea plays on is "Chris"; his keyboard give the song a somewhat starrier, more atmospheric feel. The two bonus tracks feature a more disjointed approach. On hurricane-like funk of "Tyrone" Cobham's drumming is more prominent as is Corea's electric piano, and the guitar playing is more frenzied than the original album tracks. "Planet End" seems to be the most improvisational piece, and the song that most evokes the cover of this album."