Larry Coryell is one of the all-time greats of modern jazz guitar. He exploded onto the scene in the late ’60s just as the bebop era was ending and he became one of the pioneers of the next wave—jazz /rock fusion. His sizzling riffs on Herbie Mann’s 1969 classic album Memphis Underground and his innovative work with the Eleventh House in the ’70s are standards in that genre. Spanning the generations, segueing neatly into smooth jazz, Coryell continues to have an impact on the current music scene. This album, however, with his acoustic guitar playing sons Murali and Julian, is a major disappointment. The two younger Coryells are roughly the same age their dad was when he came into prominence; unfortunately, talent-wise, they are miles away from where he was thirty years ago. Larry Coryell is definitely not playing up to his full capacity on this disc, leading one to suspect he’s holding back so he doesn’t outshine his sons. There isn’t a single standout cut among the fourteen on the CD. Several of the cuts sound like practice takes, flapping their wings but never getting fully off the ground, while the others simply fail to stir any excitement whatsoever. To make matters worse, Murali’s vocals on four of the tracks, including Al Green’s “Love and Happiness” and the Allman Brothers’ “Trouble No More,” are just plain flat. Good pipes are not in the Coryell family genes (Larry’s laughable attempt to croon a few tunes on his late ’60s debut solo album, Lady Coryell, was deservedly bombed by the critics). What is missing on this album, more than anything else, is a good rhythm accompaniment. The sounds produced by three acoustic guitars, plus a standup bass and assorted percussion (by Alphonse Mouzon, a smooth jazz star in his own right), are not varied enough. Maybe the Coryell boys, individually, will be in the vanguard of whatever the next wave of jazz is; however, on this CD it just doesn’t happen.