The easy headline with The Last Call is that this is Coryell's last concert recording; within weeks he was dead. But there's nothing morbid in this release, nor is there any sense of a diminishing of powers. Instead, it's a celebration of Coryell's energy, sense of fun and joy in collaboration. And in Philip Catherine he has a fitting partner.

Coryell always was a serial collaborator, and the recordings with McLaughlin and Paco Peña are the glam showstoppers. But the work with Catherine was always more satisfying, notably on Splendid, produced by Siggi Loch. It was Loch who brought this gig together and not surprisingly it opens with the conjoined joys of ‘Miss Julie’ from their first album together, Twin House, recorded forty years previously.

Catherine's introspection and discipline are the perfect boundary markers for Coryell. Three more duos follow, from Catherine's Spanish inflected and melancholic ballad ‘Homecomings’ to Coryell's own infectiously fun ‘Jemin-Eye'n’. Duos of different kinds follow, with Coryell having a bluesy riot playing off Lars Daniellson's bass on ‘Bag's Groove’. It all boils up to a joyous ‘Green Dolphin Street’ jam. If you gotta go, go partying.

Billed as Coryell's last studio recordings, meanwhile, Last Swing is an intimate trio set recorded while he was on his final tour of Ireland. We are long way from the clean-cut concert hall vibe of the ACT release. Where that was a collaborative showcase, here Redmond and Brady lay the bedrock for an altogether dirtier, indulgent Coryell: but, heh, that's one of the many reasons why we love him. The band kick with off with two disciplined acoustic takes on ‘In a Sentimental Mood’ and ‘Morning of the Carnival’. But pulling out the archtop he grooves lyrically through Bird's bop blues ‘Relaxing at the Camarillo, echoing the spirit of Pass and Kessel. Presumably still holding Parker in mind, he drops an extended Stravinsky quote into the intro of ‘Someday My Prince Will Come’, before swinging away in a mid-tempo cruise. But despair not fusioneers, the pedals (and Coryell's howls of joy) kick in with ‘The Last Peavey’. No horses will be scared by this fun set, but you'll keep coming back to it with a smile on your face