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Oh sure, it's an honor to play with big stars and all that...but the greatest honor of all is that my own son Andrew Dragoni plays with me .
here we are in Austin TX, working the crowd on guitar and Yamaha grand piano.
and speaking of stars----
Larry Coryell plays Roller's at Flying Fish
At first glance, it might seem an odd setting for a jazz legend: The upstairs room of a restaurant with chairs jammed together and two musicians he had never played with. And, for that matter, who had never played with each other.
But as Friday evening wore on, guitarist Larry Coryell seemed increasingly at home in the first of his two weekend shows at Roller's at Flying Fish in Chestnut Hill.
"It's a workshop atmosphere," Coryell said before the show, adding that he is actually less relaxed in a concert setting where he is farther from the audience.
He is 66 now, almost four decades past his groundbreaking fusion band the Eleventh House, and he has performed with Chick Corea, Miles Davis, Jimi Hendrix, Charles Mingus . . . actually, the list of whom he hasn't performed with might be shorter.
At Roller's, he was joined by two Philadelphia musicians, bassist Craig Thomas and fellow guitarist Jim Dragoni, who also produced the show. "We honor people here who are national treasures," said Dragoni, who previously brought Mose Allison to the restaurant.
The emcee was Paul Roller himself, weaving and schmoozing among the crowd of perhaps 50, wearing a T-shirt showing a pig playing a saxophone.
The musicians stayed firmly in the mainstream Friday, starting with Milt Jackson's "Bags' Groove" and following with compositions by, among others, Thelonious Monk, Charles Mingus, and Clifford Brown, along with a few standards such as "My Funny Valentine."
Coryell's awesome technique never lapsed into sheer pyrotechnics as he sometimes seemed to play on and around the beat in the same chorus. On Mingus' "Nostalgia in Times Square," he played call and response patterns done by two horns in the original 1959 recording.
The exchanges with bassist Thomas grew more intense as the evening passed. Dragoni stayed mostly in the lower register but at times one had to watch the two guitarists' fingering to determine who was playing what.
In the solo ballads, some of the notes seemed to hang in the air forever.