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RIP. He was great 

That works! Another good one

This was my first exposure to Coryell. I thought it was the most schizo playing ever, at least in one solo. It kinda is, really.

This afternoon:

Re: adventurous guitarists that might rightly be considered modern jazz or post-bop: Zoller is a great callout. If we're talking early, mid-60's, there is a bit of a recorded scarcity of guitarists operating in more contemporary contexts. In retrospect, I'd assert that the advent of Hendrix really altered the the perceptual range of possibilities for guitar. Speaking as a guitar player, I think a lot of this has to do with technology and innovation. The vernacular(s) of jazz guitar operate in this liminal space between horns and piano. It isn't an ideal instrument for either expressive melodicism or harmonic density - the guitar can do both, but other instruments are better suited to either extreme.  It isn't a coincidence that a slew of new, decidedly modernistic guitarists emerged in the 1960s. The minute louder amps and effects pedals became more widely available - and after guitarists like Hendrix established what could be done on the instrument - it became easier for people to find a role for guitar in modern jazz ensembles.  What many may not understand about gain on guitar is that it compresses your signal. Overdrive/distortion/fuzz are not merely effects - they actually change how lines articulate. A guitarist with a well-controlled fuzz pedal can play as fluidly as a horn player, even with the jazz/high-gauge strings that allow for stability of intonation. All this is to say that a guy like Grant Green may very well not have played like Grant Green had different technology been available in his youth. (And that's the story of music.) Case in point: consider Ray Russell, a very capable English guitarist who plays in a linear style not fundamentally dissimilar to a Zoller or Coryell (although he's somewhat less fluid and more angular-melodic - more akin to Jim Hall than Tal Farlow):  This is from '68. You can already hear the inflection of the Coltrane-Miles continuum of modalism - which is to say that he's playing as more of a melodist and less of a vertical (harmonic) improviser. He just hasn't put it all together yet - he's missing that extra layer of expressivity.  This is from '71: The fuzz grants Russell and extra layer of expressivity - there are explicit overtures to American fusion and free jazz. This version of Russell (essentially the same that would play "Stained Angel Morning," which by a certain metric might be considered the guitar equivalent of Spiritual Unity) is capable of contributing to a more contemporary ensemble in a meaningful way. See what happened to Derek Bailey toward the end of the '60s, James Blood Ulmer in the '70s, and Sonny Sharrock after his resurgence and you get roughly the same picture.