The first time listening to Lady Coryell, I was expecting something busier. Basically, I was looking for a Bitches Brew inspired clone. Hearing the loose, scratchy voice of a slightly off key Coryell was somewhat startling. I skipped to the second track, only to hear that voice again: More then anything it sounded like Steve Winwood on crack. Slightly disillusioned, I took the disc out and started jamming Return to Forever, or whatever likeminded band I was craving at the time.
When my fusion hard on cooled a bit, I went back to Lady Coryell and discovered something completely different. In place of modal chaos was a ripe selection of extremely catchy themes. Even when the improvisation was at it's most extreme ("Stiff Neck"), there was always a hummable riff or phrase to fall back on. Secondly, and somewhat ironically, only the first half of the album contained vocals. Side-B revealed a lot more guitar noodling and extended jams. Yet Coryell's sharp, often distorted guitar tone was clear throughout. The perfect assimilation of style had evaded me before, but here was a jazz guitarist playing a heavy blues riff with atonal wankery fidgeting in the background ("Sunday Telephone"). Beautiful. It felt the same as the Hendrix inspired 'rock' aesthetic other musicians had been trying to achieve in the same year, though under different guises. Basically, it was not a record to be pegged down.
Coming back to it now, I can try to explain how Lady Coryell combines forms of jazz, blues, folk, and psychedelic rock, but it won't do much good. It's the kind of album that doesn't subscribe to any specific method. It is a gem because its eclecticism is effortless, and I can't help but think that if it were released today, it would still be hailed as truly original. If you take the albums variety into account, Lady Coryell is also a nice bridge from rock into a more traditional jazz setting, or vice versa. Though sometimes it's just better in the middle.