Jazz

Al Di Meola - Casino (1978)

2010-05-14T12:08:06Z

Al Di Meola - Casino (1978)


01. Egyptian Danza (Al Di Meola) – 5:54
02. Chasin' The Voodoo (Mingo Lewis) – 5:03
03. Dark Eye Tango (Al Di Meola) – 5:22
04. Señor Mouse (Chick Corea) – 7:18
05. Fantasia Suite For Two Guitars (Al Di Meola) – 5:09 including:
a. Viva La Danzarina
b. Guitars Of The Exotic Isle
c. Rhapsody Italia
d. Bravoto Fantasia
06. Casino (Al Di Meola) – 9:27

Personnel:
- Al Di Meola - electric guitar (01,02,03,04,05,06), mandolin (05), castanets (05), 
foot stamps (05), hand claps (05), congas (05), bongos (05)
- Anthony Jackson - bass (01,02,03,04,06)
- Barry Miles - electric piano (01,02,03,04,06), minimoog (01,02,03,04), 
Yamaha organ (01,02,03,04,06), acoustic piano (01,02,03,04,06), marimba (02,06)
- Steve Gadd - drums (01,02,03,04,06)
- James Mingo Lewis - congas (02,03,04,06), bongos (03,04,06)
- Eddie Colon - timbales & roto toms (06)

Following up the superb Elegant Gypsy was no mean feat, but Al di Meola gave it his best shot with the similarly styled Casino, released in 1978. Featuring a core band of Steve Gadd, Anthony Jackson, and Barry Miles (whom di Meola came up with before the guitarist was invited to join Return to Forever), the playing is sharp and fiery, matching the youthful intensity of the leader. di Meola is a good composer in the fusion idiom, and the four original compositions on Casino, although clearly bearing the mark of Chick Corea's influence, are strong. His "Fantasia Suite for Two Guitars," featuring di Meola accompanying himself via multi-tracking, is beautiful and dramatic, and hints at the guitarist's later all-acoustic works such as Friday Night in San Francisco. "Dark Eye Tango" opens with a slow theme before turning into an uptempo vehicle for di Meola's darting Les Paul. In fact, it is the leader's solos that frequently prevent the Latin grooves and rhythms found on Casino from sounding stale and a bit dated. His trademark staccato phrasing and high-velocity improvisations are what is noticed upon first listen, but di Meola does have an excellent sense of phrasing that is undeniably present. Contrary to popular opinion, he knows how to use his technique to good effect. Casino is not as strong as either Elegant Gypsy or Romantic Warrior, but is nevertheless well worth picking up for fans either of di Meola himself or of the entire 1970s fusion scene. --Daniel Gioffre, Rovi

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Al Di Meola - Consequence of Chaos (2006)

2011-04-23T19:37:10Z

Al Di Meola - Consequence of Chaos (2006)


01. San Marco (Moderna)
02. Turquoise
03. Odyssey
04. Tao			play
05. Azucar
06. Sanctuary
07. Hypnose
08. Red Moon
09. Cry For You
10. Just Three Words
11. Tempest
12. Storm Off-Shore
13. Black Pearls		play
14. Africana Suite
15. San Marco (Vecchio)

Musicians:
Al Di Meola (guitar); 
Barry Miles (piano, keyboards); 
Chick Corea (piano); 
Mario Parmisano (keyboards); 
John Patitucci (double bass); 
Victor Miranda (bass guitar); 
Ernie Adams (drums, percussion); 
Steve Gadd (drums); 
Kornel Horvath (udo drum, shaker); 
Gumbi Ortiz (percussion).

In the '70s, guitarist Al Di Meola was the teenage phenom who burst on the scene with pianist Chick Corea and Return to Forever. Three decades later, his Memphisto-like prowess is still in effect, as evidenced by this impressive disc. With a number of world-class musicians--including drummer Steve Gadd, bassist John Patitucci, and keyboardist Barry Miles--Di Meola conjures up a whirling dervish of sounds that easily groove in fusion, world music, and techno contexts. The two versions of "San Marco" are cast in New World improvisations and Old World airs. "Tao," "Hypnose," "Tempest," "Black Pearls," and the "Africana Suite" swing with East Asian, Arabic, and West African harmonic and rhythmic motifs. Corea joins his former bandmate on the Santana-like "Red Moon" and the light but funky "Odyssey." Di Meola, who also plays percussion and keyboards, has grown with the times, with his killer power chords intact. --Eugene Holley Jr.

Allowed one Al di Meola CD to take on my desert island , would this be the one ?? Nope....(that`d be Elegant Gypsy or Tour de Force). But is this a brilliant CD?? - you bet! Actually, I think time will show us that this is one of Al`s very best (that what he thinks - I think we`ll agree with time..) What fascinates me is that - like no Al CD before - this contains Al`s full CV.... there are pieces of RTF/early di Meola,Orange & Blue,and stuff that could well belong to Tiramisu or even Soaring Through a Dream (remember that one?!). In short: this IS Al di Meola - full spectrum... For those (of us ) who were perhaps expecting a return to the raw intensity of the early days, let`s not be disappointed - and let`s give the guy a break ! (how many of us drive or make love like we did back in `78 ?? so why expect the same music from Al?) We do get reminders of the 70s (eg Tempest) but the depth of a truly mature musician shines through on this CD - eg Turquoise cca 3 minutes into the tune - that 1 minute would stand proud on any di Meola cut... So why not 5 stars ?? .... Quite simply, because whilst Al is a technical virtuoso in his own league, overall-for me- he fails to generate "Band momentum" throughout the CD....( Come to think of it,maybe Orange & Blue was the last time in this respect... ) Brilliant pieces of interaction (particularly with the keyboards), and some amazing tunes with real depth, but the dynamism of a real band throughout the whole CD seems missing... And this is at the crux of things I think... Many people have said that they are disappointed / missing the flair of old and of announced.. But is that where it`s at?? I think the flair is there most of the time, with additional depth that makes eg The Wizard and co seem extremely raw - the real issue in my mind is that amongst the depth/sporadic flair Al seems to have "lost the band momentum" that made eg Casino / Electric Rendezvous/ or even Kiss My Axe truly great. No complaints though folks....honestly, how many musicians have given us greater pleasure over the 30 years?? ---Jan Hammer

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Al Di Meola - Morocco Fantasia (2017)

2017-09-04T13:32:35Z

Al Di Meola - Morocco Fantasia (2017)


1. Misterio (Live) 9:12
2. Siberiana (Live) 10:25
3. Double Concerto (Live) 9:17
4. Michelangelo's 7th Child (Live) 7:59
5. Gumbiero (Live) 7:44
6. Turquoise (Live) 8:21
7. Encore (feat. Said Chraibi, Abdellah Meri & Tari Ben Ali) [Live] 5:10
8. Egyptian Danza (feat. Abdellah Meri & Tari Ben Ali) [Live] 9:06

Al Di Meola 	Guitar, Producer
Peo Alfonsi 	Guitar
Tarik Ben Ali 	Percussion
Fausto Beccalossi 	Accordion
Said Chraibi 	Oud
Péter Kaszás 	Drums
Abdellah Meri 	Violin
Victor Miranda 	Bass
Gumbi Ortiz 	Percussion 

Morocco Fantasia is a live recording of Al Di Meola’s concert in 2009
 at the Mawazine Festival in Rabat, Morocco.

Guitarist Al Di Meola seems to finally have found a musical voice and home. He’s made a name for himself as an AK-47 styled electric guitar gunslinger, a devotee of New Tango music, and an amalgam of sounds on his World Sinfonia records. The latter, which is featured here on a dvd that captures his band at a 2009 festival in Rabat, Morocco, seems to mix the best of all of Di Meola’s musical incarnations.

Together with his team Di Meola does mastery on his acoustic guitar on pieces like the Andalusian “Misterio.” His fiery technical skills are well balance here by the acoustic and mediterranean musical enviornoment, as shown on the flamenco sketches on “Michelangeo’s 7th Child” and the luscious “Turquoise.” The mix of percussion and accordion make for a bohemian rhapsody, whle the complex “Gumbiero” includes some nice hand work on the congas by Ortiz. Guests Said Chraibi/oud, Abdellah Meri/violin an dTari Ben Ali/perc make for some delightful guests, as Chraibi’s oud on the encore is a Saharan delight. Di Meola finally plugs in for an electrifyingly closer “Egyptian Danza” reminding everyone how he got famous in the first place. An absolute delight for guitar fans. ---George W. Harris, jazzweekly.com

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Al Di Meola - Opus (2018)

2018-03-01T15:17:17Z

Al Di Meola - Opus (2018)


1. Milonga Noctiva: Wandering in the Dark (feat. Kemuel Roig)
2. Broken Heart
3. Ava's Dream Sequence Lullaby
4. Cerreto Sannita (feat. Kemuel Roig)
5. Notorious
6. Frozen In Time
7. Escapado
8. Pomp
9. Left unsaid
10. Insieme
11. Rebels (feat. Kemuel Roig)

Now a happy man, the guitarist continues to stretch himself. He was Return To Forever’s diffident firebrand, the fusion genius behind Elegant Gypsy, and he shared a stage with fellow guitar giants Paco de Lucía and John McLaughlin. But follow the trajectory of Al Di Meola’s four-decade solo career and you’ll see him emerge as a musical globalista with a love for Piazzolla’s nuevo tango and an appreciation of Latin-based styles. He says that Opus marks the first time he’s ever written while happy, but that hasn’t turned his brain to saccharine mush – this sparely produced, mainly acoustic album is no sugar-fest. The tango-inspired Escapado and gelid Frozen In Time are the most immediate tunes, but 10-minute suite Ava’s Dream Sequence Lullaby is capricious and requires concentration. A musical conversation with himself, Left Unsaid is a skilled expression of his new‑found contentment, while the jazzy, contrapuntal harmonies of Insieme are dazzlingly complicated. A few weak string and drum samples disrupt the flow, but pianist Kemuel Roig adds class to Rebels and Milonga Noctiva, and it’s a thrill to follow an explorer reaching new creative peaks, even if the air’s pretty thin up here for the rest of us. ---Grant Moon, teamrock.com

Al Di Meola - the brilliant, virtuosic multi-instrumentalist, composer and arranger, who is considered to be one of the most innovative musicians and a living legend - is a pioneer of blending world music and jazz.

His ongoing fascination for complex rhythmic syncopation combined with provocative lyrical melodies and sophisticated harmony has been the heart of his music throughout a celebrated career that has spanned over four decades. The Grammy award winner achieved worldwide fame for both, being a solo artist and for his collaborations with Chick Corea, Paco De Lucia, John McLaughlin, Jean Luc Ponty, Stanley Clark, Luciano Pavarotti, Paul Simon, Phil Collins, Santana, Steve Winwood, Herbie Hancock, Frank Zappa, Jimmy Page, Stevie Wonder and many more.

With a curriculum vitae rich of exciting musical moments and incredible works, Al Di Meola is still challenging himself and his music but with a more relaxed way to see things. Over the last few years he has literally started all over, reinventing himself in both, his private life and music, and his brand new studio album “OPUS” truly reflects all of this. “With OPUS I wanted to further my compositional skills as I think that the evolution of this part of my persona has labelled me more composer/guitarist than guitarist/composer”, says Al. “At the same time this record also marks a new era in my life. For the first time in my life, I have written music being happy, I’m in a wonderful relationship with my wife, I have a baby girl and a beautiful family that inspires me every day. I believe it shows in the music.” ---wsm.serpent.pl

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Al Di Meola - World Sinfonia - Live From Seattle and Elsewhere (2009)

2011-04-13T08:46:12Z

Al Di Meola - World Sinfonia - Live From Seattle and Elsewhere (2009)


01. Misterio
02. Siberiana
03. Paramour's Lullaby
04. Gumbiero			play
05. Firefiles			play
06. Umbrass
07. No potho reposare

Musicians:
Al Di Meola (Guitar); 
Gumbi Ortiz (Percussion); 
Peter Kaszas (Drums); 
Peo Alfonsi (Guitar); 
Victor Miranda (Bass); 
Fausto Beccalossi (Accordion).

Now that the whole Return to Forever reunion experience is in his rearview mirror (and unlikely to be repeated ever again), guitar star Al Di Meola is pursuing his own musical vision with newfound conviction via his World Sinfonia. Essentially an acoustic ensemble featuring Fausto Beccalossi on accordion and Di Meola’s longtime collaborator Gumbi Ortiz on cajon and assorted hand percussion, along with second guitarist Peo Alfonsi, bassist Victor Miranda and drummer Peter Kaszas, this edition of the World Sinfonia has developed a tightly knit chemistry through frequent touring. This limited-edition release, the first in a series of live recordings being sold initially at World Sinfonia gigs, documents their easy rapport in concerts held in Seattle, San Francisco and Istanbul.

Di Meola’s rhythmically charged, flamenco- and tango-inspired originals, like the opening “Misterio” and the dynamic “Siberiana,” reveal his interest in advanced harmony along with his unapologetic embrace of simple, beautiful melodies. And although a romantic at heart, he is not above layering on the kind of impressive speed-demon licks that graced ’70s Di Meola classics like Elegant Gypsy and Casino, as he demonstrates with typical macho flair on the Latin-flavored cooker “Gumbiero” and the alternately alluring and exhilarating “Umbras.” Accordion ace Beccalossi proves more than a worthy foil on the frontline for this challenging material, matching Di Meola’s intricate lines note for note on the heads while delivering some scintillating solos of his own.

The virtuoso guitarist plays primarily on a nylon-string acoustic with a MIDI pickup that allows him to shadow notes with a wide array of synth colors and textures, or dial up some nasty distortion tones when the music calls for it (as on the moody “Paramour’s Lullaby” and the flamenco burner “Fireflies”). Special guest Husnu Şenlendirici sits in on Turkish clarinet on the lovely Sardinian folk tune “No Potho Reposare.” ---Bill Milkowski, Rovi

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Al Di Meola - World Sinfonia III - The Grande Passion (2000)

2011-04-15T09:23:18Z

Al Di Meola - World Sinfonia III - The Grande Passion (2000)


01. Misterio
02. Double Concerto
03. Prelude: Adagio for Theresa
04. Grande Passion
05. Asia de Vuba
06. Soledad 
07. Opus Green
08. Libertango		play
09. Azucar			play

Credits:
Al Di Meola – guitars, dumbek, cymbals, percussion
Mario Parmisano – piano, synthesizer
John Patitucci – acoustic bass guitar
Arto Tuncboyaciyan – vocals, percussion
Hernan Romero – guitar, charango, vocals
Toronto Orchestra – strings, woodwinds
Fabrizio Festa – conductor
Gilad – percussion
Gumbi Ortiz – congas
Mike Mossman – trumpet
Oscar Feldman – tenor saxophone

Fusion firebrand Al Di Meola continues his passion of the 1990s, compositions written and inspired by Astor Piazzolla. What's remarkable is how strong Di Meola's own music sounds next to those of the late Brazilian tango avatar. "Misterio" opens the album and sets the tone with a lush, romantic setting for acoustic guitar interpolated with colorful accents of sitar and winds, triggered by Di Meola's MIDI-guitar. It's a dynamic piece that takes unusual twists, and it sits comfortably next to Piazzolla's "Double Concerto," which follows. Again, using his strangely uncredited MIDI-guitar, Di Meola emulates Piazzolla's inimitable bandoneon sound. The guitarist has assembled a phenomenal group, including bassist John Patitucci, percussionists Gumbi Ortiz and Arto Tuncboyacian, pianist Mario Parmisano, and second guitarist Hernan Romero.

With the virtuosity of his playing, Di Meola is often overlooked as a composer, and The Grande Passion underscores what a fine composer he is. String arrangements color "Double Concerto," the title track, and several other pieces, but Di Meola hardly needs orchestral frills to legitimize his already epic compositions. The guitarist has slipped from critical prominence since the days of Return to Forever, Splendido Hotel and the guitar trio with John McLaughlin and Paco De Lucia (try out Friday Night in San Francisco for a great trio outing), but Di Meola spent the 1990s doing some of his best work with his World Sinfonia group and The Grande Passion starts the new millennium in fine form. ---John Diliberto, Editorial Reviews

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Al Di Meola – Flesh On Flesh (2002)

2009-10-15T15:35:46Z

Al Di Meola – Flesh On Flesh (2002)


1.	Zona Desperata
2.	Innamorata
3.	Meninas
4.	Flesh On Flash
5.	Fugata
6.	Deep And Madly
7.	Safire Soleil
8.	Senor Mouse

Personnel: 
Al DiMeola (acoustic & electric guitars); 
Jean Valdes, Guillermo Ruiz (alto saxophone); 
Williams Polledo (trumpet); 
Alejandro Santos (flute); 
Mario Pamisano (acoustic piano, calliope); 
Gonzalo Rubalcada (Fender Rhodes); 
Anthony Jackson (Fodera electric conta bass); 
Ernie Adams (drums);
Gumba Ortiz (congas, cajone).

Al di Meola continues to broaden his musical horizons with Flesh on Flesh, his fourth release for the Telarc recording label. The great guitarist is joined by two members of his World Sinfonia acoustic group -- Gumbi Ortiz on percussion and Mario Parmisano on keyboards -- in addition to such stellar musicians as Gonzalo Rubalcaba, flutist Alejandro Santos, and bassist Anthony Jackson, who recorded with di Meola on his best-selling Elegant Gypsy album in the mid-'80s. Offering classic guitar lines on an array of guitars (including a vintage Les Paul, Fender Stratocaster, and Conde-Romano acoustic), di Meola is memorable, timeless, and true to the beauty, culture and sensual imagery that inspired him to compose and arrange these eight great songs. Each song is a masterpiece, and such compositions as "Flesh on Flesh" (which features him on five different instruments), "Zona Desperata," and "Fugata" (which showcases di Meola trading with Gonzalo Rubalcaba on their Fender Rhodes solo in part three) are just three of the musical statements befitting all who've been lucky enough to see or hear di Meola's phenomenal sound "live." To hear that same energy and excitement recorded "live" on Flesh on Flesh is especially gratifying since the music is developed and takes place in a new context, space, and time. You'll find that every graceful musical curve, every dynamic concept, every technological update heard on Flesh on Flesh is a celebration of new forms and functions, of strict rhythmic reinterpretation and the inimitable di Meola sound and guitar virtuosity. A must-have. ---Paula Edelstein, allmusic.com

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Al Di Meola – Orange & Blue (1994)

2009-10-15T15:33:00Z

Al Di Meola – Orange & Blue (1994)


1. Paradisio 
2. Chilean Pipe Song 
3. Ta'alina Chant
4. Orange And Blue 
5. This Way Before 
6. Summer Country Song 
7. If We Meet Again, Part One 
8. If We Meet Again, Part Two 
9. Cyprus 
10. Theme Of The Mother Ship 
11. Precious Little You 
12. Casmir 
13. On My Own

Al di Meola - Crowd Noise, Cymbals, Drums, Duduk, Finger Snaps, Guitars, Hands, Koto, Percussion, Piano, Piano (Grand), Piccolo Flute, Pipe, Santouri,
 Shaker, Shakuhachi, Synthesizer, Tabla, Tom-Tom, Violin
Andres Boiarsky - Saxophone
George Dalaras - Vocals
Peter Erskine - Drums
Steve Gadd - Drums
Conrad Herwig - Trombone
Marc Johnson - 	Bass, Bass (Acoustic)
Manu Katché - Drums
Noa - Vocals
Gumbi Ortiz - Bongos, Congas, Percussion
Pino Palladino - Bass, Fretless Bass
Mario Parmisano - Bass, Composer, Finger Snaps, Keyboard Bass, Keyboards, Organ, Organ (Hammond), Piano, Piano (Grand), Strings, Synthesizer
Mike Pinera - Trumpet
Hernan Romero - Bells, Charango, Finger Snaps, Guitars, Instrumentation, Multi Instruments, Piano, Synthesizer, Vocals
Simon Shaheen - Violin

Al di Meola's passion for the acoustic guitar has not diminished his love of electric music. Upon collaboration with Gibson, the Al di Meola Jazz Guitar was issued. In stark contrast to his customary Les Paul, this guitar is a large hollow-body similar to an L-5. The jazz guitar allows di Meola to achieve a warmer tone; however, he seemed to be going through a Pat Metheny stage at the time of this recording. The upside is that di Meola's solos combine his remarkable control with a newfound sense of swing, the downside being that he seems to have lost some of his identity. "Chilean Pipe Song" stands as one of di Meola's most memorable compositions. The supporting cast of Mario Parmisano and Peter Erskine greatly enhance the music, as each is a distinguishable and tasteful musician. Erskine particularly shines on "Summer Country Song." The one burner here is "Casmir," a fast-paced tune reminiscent of the Elegant Gypsy days. "On My Own" features di Meola's debut on piano. It is by no means anything spectacular, but it does reaffirm his continued exploration and growth. The strong playing and quality of the compositions make this recommended despite the Metheny flavorings. ---Robert Taylor, Rovi

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Al Di Meola – Pursuit of Radical Rhapsody (2011)

2011-06-06T20:36:57Z

Al Di Meola – Pursuit of Radical Rhapsody (2011)


1 Siberiana 8:28 
2 Paramour's Lullaby 7:45 
3 Mawazine, Pt. 1 2:07 
4 Michelangelo's 7th Child 7:30 
5 Gumbiero 6:18 
6 Brave New World 1:54 
7 Full Frontal Contrapuntal 4:52 
8 That Way Before 3:06 
9 Fireflies 4:01 
10 Destination Gonzalo 5:16 
11 Bona 6:00 
12 Radical Rhapsody 5:02 
13 Strawberry Fields 4:09 
14 Mawazine, Pt. 2 2:54 
15 Over the Rainbow Arlen 3:04 

Al di Meola (acoustic guitar, electric guitar, keyboards, percussion); 
Kevin Seddiki (guitar); 
Fausto Beccalossi (accordion); 
Barry Miles (keyboards); 
Peter Kaszбs (drums, percussion); 
Gumbi Ortiz (percussion).

Following the much ballyhooed Return To Forever reunion tour of 2008, guitarist Al Di Meola began refocusing his energies on his World Sinfonia band. Live in Seattle and Elsewhere documented his tightly-knit chemistry in concert on a 2009 tour with his acoustic ensemble of accordionist Fausto Beccalossi, second guitarist Kevin Seddiki, bassist Victor Miranda, drummer Peter Kazsas and Di Meola's longtime collaborator Gumbi Ortiz on cajon and assorted hand percussion. Di Meola's rhythmically-charged flamenco and tango inspired originals revealed his knack for advanced harmonies along with his embracing of simple, beautiful, alluring melodies. And although he may be a romantic at heart, he showed that he is still very much capable of flashing those legendary chops that graced his `70s classics like Elegant Gypsy and Casino.

On Di Meola's latest outing, Pursuit of Radical Rhapsody, the guitar virtuoso and world music pioneer deals in more evocative and compelling sounds with his World Sinfonia ensemble, delivering hauntingly beautiful and deeply moving music from track to track. The collection kicks off with the entrancing, suite-like "Siberiana," which opens with some tender call-and-response between Beccalossi's accordion and Di Meola's nylon string acoustic guitar before building to a turbulent section with searing electric guitar lines on top. On the affecting "Paramour's Lullaby," Di Meola takes a more deliberate approach on electric guitar, spinning warm, lyrical lines over the beautiful harmonies before engaging in spirited call-and-response with Beccalossi near the end of the piece. The rhythmically charged "Mawazine" (featuring percussionist Mino Cinelu) is broken up into two parts on the album and showcases some typically tasty electric guitar work by the leader. The lushly cinematic "Michelangelo's 7th Child" (featuring Hungary's Sturcz String Quartet) has Di Meola utilizing subtle MIDI textures and colorations on his acoustic guitar while also showcasing some virtuosic runs. "Gumbiero" is a stirring Latin number underscored by Ortiz's churning conga work. Sparks fly between Di Meola's signature fretboard bravado on both acoustic and electric, Beccalossi's facile accordion playing and Gonzalo Rubalcaba's dazzling piano work on this spirited offering. "Full Frontal Contrapuntal" features some chops-busting unisons and intricate exchanges between Al's MIDI-tinged acoustic guitar and Beccalossi's accordion. The surging "This Way Before" and the evocative, flamenco inspired "Fireflies" both feature Di Meola alternating between acoustic and distortion-laced electric guitar licks. The stirring Latin flavored "Destination Gonzalo" and "Radical Rhapsody" both feature virtuosic contributions from pianist Rubalcaba and former Weather Report drummer Peter Erskine. The poignant "Bona" is a tender offering with the Sturcz String Quartet that features some of Di Meola's most lyrical playing on the record. The leader also turns in soothing interpretations of two classic pop tunes, the Beatles' "Strawberry Fields" and "Somewhere Over the Rainbow," both of which feature the great jazz bassist Charlie Haden. --- Editorial Reviews

When I saw them in concert a couple of years ago, DiMeola's current band struck me as being between several stools. Accordion + loud electric guitar? Heavy drums + no bass or keyboards? It was a strange sound & combination, and I felt that their new material could do with some added band members & orchestration to bring the tunes to life. "Pursuit of Radical Rhapsody" does this...and more. I would call this an uncompromising, inventive & artistic record, coming after a five-year hiatus in DiMeola studio recordings. I will try and explain.

In common with Pat Metheny, DiMeola has done many fine records where, in addition to great instrumental skills, the music can sound like a pop or rock record in terms of its production. Call it 'mainstream' or 'commercial' if you wish. That has a plus & a downside, the plus being its great musicality (to a higher level than pop/rock guys can offer), the downside being the music or melodies can sound a little too familiar or 'eager to please', even if they avoid the blandness of so-called 'smooth jazz'. Some of DiMeola's best records in the last 20 years have been 'World Sinfonia' albums, as is this one, but those records, while not 'mainstream', also had an easily recognisable, or 'feel at home', sound, due to their heavy reliance on Astor Piazzolla material. By contrast, there are no Piazzolla tunes on this album. Instead, along with two cover versions, there are 13 original compositions all of which throw a 'curve ball' at the listener in the sense that they feature compositional turns, improvisations & orchestrations that will not remind you of anything else. I say this as someone who has heard all DiMeola's albums and much else besides. If this record reminds me in any way of any other recording, it might be Chick Corea's "Ultimate Adventure", if only due to its very free-spirited, imaginative & open-ended approach, but I think "Pursuit of Radical Rhapsody" actually far outshines that album in terms of compositional depth and inventive, while never repetitive, musical development. There is not a single lazy moment on this album in terms of content or style.

The album is recorded, mixed & produced brilliantly. There is an equal amount of electric & acoustic guitar playing on this album, and it is strictly a pure nylon-string acoustic & clean-toned electric sound (which pleases me, for one, as DiMeola sometimes relies a little too heavily for my tastes on MIDI effects). I think this album represents the ever-growing maturity & development of DiMeola as a musician in more ways than one. For one thing, I would consider this as the most jazzy of DiMeola's solo albums to date and yet it is also characterised by longstanding (if not very jazzy) DiMeola styles, such as sensitive nylon string playing (evident since the mid-80s) and highly rhythmic, not exactly 'swinging', twists & turns involving heavy snare drums & solid-body electric guitar (evident since the mid-70s). Not until track 10 does a tune in 4-4 appear! The combination of all three factors actually works, however, to such a degree that this is constantly a musically stimulating, challenging and at the same time warm & richly harmonic sounding record. The latter point is worth stressing, because with all these contrasting elements the music could have ended up cacophonic, which it is not, or so tight that jazz improvisations are missing, which they are not.

To conclude, I would say this is DiMeola's best album since 'The Grande Passion' while in terms of its melodic content it actually outshines that album in at least one sense, namely its non-reliance on the use of a single 'traditional' & 'familiar' musical phrase, from start to finish. If the key to artistic brilliance is to create something that will never remind you of anything or anybody else, maybe one could say that DiMeola has truly realised his artistic potential with this album, which provides very fresh listening. ---Owen McGee

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Al Di Meola – The Infinite Desire (1998)

2009-10-15T15:37:10Z

Al Di Meola – The Infinite Desire (1998)


1. Beyond the Mirage 07:19     
2. Shaking the Spirits 06:30     
3. Vizzini 04:54     
4. In My Mother's Eyes (Memory of Teresa) 04:41     
5. The Infinite Desire 05:27     
6. Invention of the Monsters 03:05     
7. Istanbul 08:00     
8. Azzura 02:55     
9. Big Sky Azzura 06:08     
10. Race With the Devil on Turkish Highway 04:02     
11. Valentina 04:44     
12. The Infinite Desire 05:27

Personnel: 
Al DiMeola (vocals, acoustic, electric & nylon string guitars, harp, synthesizer,
 marimba, cymbals, finger cymbals, percussion); 
Kabuli Nitasa (vocals, violin); 
Pino Daniele, Layla Francesca, Oriana DiMeola (vocals); 
Mario Parmisiano (strings, piano, keyboards, synthesizer); 
Rachel Z (piano, keyboards, programming); 
Herbie Hancock (piano); 
Steve Vai (electric guitar); 
John Patitucci (acoustic & electric basses); 
Tom Kennedy (acoustic bass); 
Peter Erskine, Ernie Adams (drums); 
Gumbi Ortiz (congas); 
Spyros Poulos (programming).

With the help of new generations of guitar synthesizers and samplers, The Infinite Desire finds a mature, lyrical, more expressive Al di Meola casting his lot with Telarc, which until the late '90s had concentrated its attentions upon aging acoustic jazzers. Indeed, he makes marvelously musical use of the new devices, creating sensuous, exotic layers of sound that lie easily upon the ear, without much of the usual harshness of digital instruments generated by those who haven't bothered to master them. "Shaking the Spirits" in particular is a fascinating piece, loaded with dazzling Middle Eastern and African colorations, and the sampled trumpet sound he gets on "Valentina" is astoundingly lifelike. Also, di Meola's playing became more unabashedly fluid in the '90s; on the closest thing to a straight-ahead track, "Invention of the Monsters," di Meola's electric guitar curls intricately and swingingly around the bass of Tom Kennedy, Ernie Adams' drums, and some synthesized brass. Di Meola's co-conspirators change from track to track, although two who figure a lot in the sound and package are keyboardist Rachel Z (a former di Meola sidewoman) and bassist John Patitucci. Also check out Herbie Hancock on acoustic grand and Peter Erskine's drums on "Istanbul," and di Meola's fairly good-natured duel with rock guitarist Steve Vai on "Race with Devil on Turkish Highway." --- Richard S. Ginell, All Music Guide

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