Frequently referred to as the musician's musician and a guitarist's guitarist, Larry Carlton's infectious guitar playing has made him one of the most respected musicians in the industry.
He was part of The Crusaders in the 70s and besides pursuing a solo-career, Larry has been very active as a studio musician. To this day, he remains one of the most recorded guitarists in history with about 3000 sessions (early 80s estimate). He worked for artists like Steely Dan, Michael Jackson, Sammy Davis Jr., Joni Mitchell, Herb Alpert, Quincy Jones, Dolly Parton, and Linda Ronstadt.

Steve Lukather shouldn't be a stranger to WestCoast listeners either. Besides being TOTO's frontman, he spent the late 70's and much of the '80s as a studio guitarist for artists like Michael Jackson, Eric Clapton, Paul McCartney, Don Henley and Bill Champlin just to name a few. Widely respected for his versatility, outstanding technical skills and that very distinct 'Lukather' sound, Steve was thrilled and honoured to receive the call from Carlton asking him to do a club tour in Japan..
Larry was actually one of Steve Lukather's main influences from very early on, and the two guitarists first met through Jeff Porcaro after the release of Steely Dan's 'The Royal Scam'. Steve Lukather recalls:

I was into Larry when he was in the Crusaders, but I never heard him blow like on Steely Dan's Royal Scam album. Guitar wise, the album changed my whole life. The only other person that moved me that much was Hendrix. Carlton had the rock and roll sound, but he was playing in and out of changes like a bebop player would. My mind was messed! I went, 'yeah, that's what I want to do'. (Guitar Player interview - 1994)

The shows of the Japan club tour were recorded, and the result is the amazing 'No Substitutions - Live In Osaka'. It took place in November 1998 at The Blue Note in Osaka, and probably spans more than one show, even though the CD only has five tracks. Carlton and Lukather played two shows each night for several weeks, and one of the shows was actually aired on Japanese radio.

Excerpt from the CD booklet:

"This recording is as much a homage to the mentor system as it is a long-anticipated summit meeting of two formidable guitar players. It's also an unwitting, unremitting demonstration of how these artists' respect and openness enhance their more obvious musical gifts. An improviser's primary challenge is to tell a story through sound, creating and sustaining the narrative with unplanned melodic and rhythmic events. That's quite a task for any player, especially when met within a format this loose - a three-week Japanese club tour preceded by little more than an agreement on a set list and a soundcheck - and when prior work has the audience's expectations fixed at such justifiably high levels.
You hear the payoffs in the moment, and in the history: Carlton voluntarily relinquished his position as the eminent session guitarist of the 1970's, his work formalizing the commonly accepted notions of how a precisely crafted fill or solo can elevate the popular song form; he moved into a notable solo career with a still-thriving legacy of taste and sophisticated concision. Those lessons were well absorbed by a young Steve Lukather, who came up under Larry with an unfailing adeptness at spinning deep, highly personal melodies into roaring improvisations. Like his esteemed predecessor, he reapplied that momentum, both with his band TOTO and as a sideman/producer/composer for most of the great artists of his generation.
And though nearly a generation has passed since Luke first crossed Larry's path, the solos captured here pass like a baton of divine benediction between him and the man he humbly calls 'my teacher'. Luke is usually urged to move forward first, a reflection of his own gutsy assuredness and Larry's egoless confidence; it's intriguing to hear how both offer personal respects and reminiscences throughout, whether in Larry's seamless acknowledgment of Herbie Hancock's 'Dolphin Dance' in one solo, or Lukather's nod to Larry's own original lead break in the classic 'Room 335', through which the younger guitarist swings as though from a rope. These guys deliver the shivers, ever so conscious of the big Hollywood climax, but they can also coax like it's their last - and each note is meant to last. To them let us raise the sake glass and utter respectfully, 'Domo arigato, Messr. Vibrato..' "
- M.R.

FN Carlton/Lukather site
Arend Slagman's Luke site

LarryCarlton.net
Fourplayjazz.com