js 'Level One' is classic hard rockin jazz fusion from the mid 70s with that progressive rock influence popularized by artists like Mahavishnu Orchestra, Return to Forever and David Sancious. With their upbeat optimistic grooves and hyper nerd funk, Eleventh House probably favors RTF more than the other two. Coryell and his gang are far more than just competent as they energetically rip through these tunes, yet they never seem to elevate themselves to quite the same stature as some of the previously mentioned bands with whom they share a common sound. Although Eleventh House might just slightly border on fusion lite when compared to the genres greatest, you can't blame Coryell, whose guitar burns with a gritty hard rock sound that puts him ahead of all other fusion fret-meisters when it comes to pure heavy rock vibes and sound. At their best, Eleventh House uses heavy metalized synth lines in conjunction with the trumpet to produce orchestrated futuristic melodies. Side one closer 'Nyctophobia' is especially strong with a dissonant heavy synth melody that leads to an impossibly fast thrash/fsuion groove, courtesy powerhouse drummer Alphonse Mouzon, which peaks with more heavy jagged synthesizer lines, nice stuff. Other tunes that set them apart from the 70s fusion crowd feature echoed trumpet over space grooves that predate the sound of 90s acid jazz. Overall the playing on here is excellent, everyone has the expected ultra nimble skills expected of the jazz rock crowd during this era. The only problem with this album is that it only suffers in the inevitable comparison to their peer group who had the advantage of better song writers and arrangers.

Hardly a clone of Mahavishnu and RTF, Eleventh House are at their best when they accent their uniqueness; futuristic synth/horn lines and Coryell's extra greasy hard rockin guitar. This album is highly recommended for fans of classic mid-70s progressive jazz-rock.

Sean Trane Second or third album from LC’s JR/F group and two major changes between Level One and Introducing; trumpet player Randy Brecker is gone replaced by the less-present Michael Lawrence and the bassist slot is now occupied by John Lee. Along with the plain photo montage artwork, the other big change is that Danny Weiss is absent from the production desk. Songwriting-wise, LC practices a certain kind of democracy, Mandel, Mouzon, Lawrence and Lee getting at least one song in, LC only getting in three (on the flipside)

Opening on the title track, the band really seems to literally do that: take you to that first level. Everybody plays in unison and a basic structure. As if on intention the following Other Side, shows exactly that: much more impressive both structurally but virtuosity-minded, the track smokes under your stylus, and you might be tempted to keep your fire-extinguisher at hand. No need though, coz Larry & The Gang go soft (almost limp) with the much less enthralling Diedra. The amusingly titled Some Greasy Stuff gets the Eleventh House right back on track, with plenty of brass, an aerial synth and some gruffy guitars, courtesy of the master of the house. Rounding up the vinyl is the Ultra funky 200 MPH Nyctaphobia (fear of the night), where the average speed can’t be controlled by a normal radar, as they approach RTF and MO cruising speed.

Obviously on the flipside, the opening three-movement (just under 6 minutes) Suite is the main attraction, with LC’s guitars and Lawrence’s trumpet exchanging wild leads. Eyes Of Love is an acoustic solo Coryell piece, which is a bit out of context, especially sandwiched between two scorchers, the aforementioned Suite and the very funky Struttin’ With Sunshine, the latter a real wakeup call and paving the way for the closing That’s The Joint, another funky piece where Coryell literally smokes his guitar strings red hot over wild brass section interventions. While the album ends fantastically, it leaves you wanting more, because the album’s length is a bit on the short side, >> some 31 minutes for an album.

Not quite as successful as Introducing (or even Planet End), this album still holds some very interesting moments and compared to many other JF/F group, The Eleventh House is immediately recognizable, something which would eventually become problematic in years to come in the genre.