AL DI MEOLA

On this album Al and long-time collaborator Jan Hammer display their awkward mastery of the new computer-technologies that had come available in the 1980s including drum machines and synth guitars, but more specifically, the Fairlight CMI.

1. "Mata Hari" (6:07) I like the slow build and nice, intricate weave of sophisticated programming with Al and Jan's multiple tracks of guitars and keys on this one. Al duelling with himself is a bit much, but the slightly-Mediterranean sounds and melodies are interesting. A top three song. (8.875/10)

2. "African Night" (4:52) a beautiful creation of something that takes one to tropical places one usually only dreams of. I picture myself looking out over the mesmerizingly shifting colors of the Sahara Desert as I lounge on a reclining chair on a hotel roof top in Marrakesh as the sun is setting behind me, luxuriating in my fruity cocktail. Yes, it's sappy, but Al's begun to master the art of pleasing the listener, not just impressing them. My favorite song on the album. (9.5/10)

3. "Island Dreamer" (4:07) neither an interesting sound palette nor the presence of Phil Collins can save this rather monotonous song from its 80s tedium. (8.7/10)

4. "Scenario" (4:00) Jan plays piano in a pleasant if subtle duet with Al's acoustic guitar(s). This song is an example of how the virtuosity on display in this album's music is oft-times woefully hidden in subtlety and nuance. (8.75/10)

5. "Sequencer" (4:08) Al going full-techno with this "Theme from Miami Vice"-like song. The sounds coming from the drum machines are the worst (as is the metronomic 4/4 snare beat) while those emanating from the guitar synth and Fairlight CMI are pretty decent. The guitar-less first half of the third minute is the most interesting, but Al's partially- muted guitar solo that follows is pretty awesome. (8.875/10)

6. "Cachaca" (5:36) Jan and Al trying to conjure up some kind of techno-funk!? Multiple guitar tracks sometimes feel at odds with each other--as if Al was experimenting with many sounds and styles (and melody lines) filling several tracks and at the end decided to keep them all in the final mix. Almost Allan Holdsworth-like in both its unusual creativity but also the meandering, lost feeling it ends up conveying. Like Allan, maybe Al was so into his own world that he ended up creating music for a different planet? The weird thing is that I actually like it! (8.875/10)

7. "Hypnotic Conviction" (3:52) more techno-rhythm tracks (some surprisingly simple considering the two men behind their creation) over which Jan and Al try fabricating something interesting. There are some nice sounds here but way more cheesy ones playing even cheesier riffs resulting in a rather epic fail. (8.5/10)

8. "Calliope" (4:20) Tony Levin and Bill Bruford's contributions here lift this nicely hypnotic song to a different level. A top three song--and not just for the presence of the Dynamic Duo, but they definitely help. (9/10)

9. "Scoundrel" (3:46) opens with some ominously rock guitar riffing before the country-western drum track joins in. Things settle a little differently for the second motif as Jan's contributions get a chance to show, but then we switch back to the guitar-driven C&W motif, alternating back and forth until the two-minute mark when Jan is given space for one of his old trademark Moog solos--which turns out to be the glove-drop for an on-going duel between he and Al, both trading classic solos back and forth until the song fades out. Good old-fashioned jazz-rock fusion (despite the C&W bent). (8.875/10)

Total Time: 40:48

Al (and Jan) are still on it though they haven't quite figured out how to express instrumental skill and virtuosity on the drum machines and Fairlight CMI sequencing. Sometimes the excellence is buried in the mixes--too subtle for their own good--at other times it's buried in the schlocky sound choices. Still, this is another fairly good album from two of J- R Fusion's masters.

B/four stars; an excellent addition to any prog lover's music collection--especially if you can forgive the technological excesses that were the 1980s.

Al Di's fourth studio album as a bandleader performing and arranging on his own (mostly) compositions. The virtuosity is still at its peak, the choices of song varieties sometimes leaves a little room for investigation.

1. "Alien Chase On Arabian Desert" (8:59) such a proggy start grâce de Philippe Saisse.The crystalline clarity of Al's guitar tones (and their rendering by the engineer) is always something to applaud. Drummer Robbie Gonzalez and percussionist Eddie Colon are sure ensuring that this is a dynamic song. Interesting bass chord play from Tim Landers- -all the while Al trades off multiple stunning guitar riffs and solos between his multiple guitars and guitar sounds-- especially from those Egyptian/Spanish-sounding acoustic guitars. Impressive but, in the end, a little too wild and disjointed for my tastes. (17.75/20)

2. "Silent Story In Her Eyes" (7:35) multiple tracks of acoustic guitars playing within each other's domain leads to a wonderfully-tropical feeling ambiance. It doesn't hurt that Mingo Lewis, Anthony Jackson, Chick Corea, and Peter Cannnarozzi are helping out Al, Robbie, Phillippe, and Eddie. Awesome earworm melodies and guitar playing. There is just something wonderful about the seaside resort feeling being conjured up by this Caribbe-style music. If there is anything weak about this song it would be Anthony Jackson's clavinet-like sound given his bass (not his playing). But this is definitely Al showing his absolute mastery of melody at the same time as being an absolute virtuoso of his instrument. A top three song. (14.75/15)

3. "Roller Jubilee" (4:44) Phillippe Saisse and Al duelling on marimba and celesta, respectively, syrupy melodies and a surprising disco rhythm track from Steve Gadd and Anthony Jackson and the other keyboard players and percussionists. Sounds like The Beach Boys' "Kokomo" song. At the same time, I cannot find fault with either the composition or performances; it's just the style that stretches credibility for the J-R Fuse domain. Oh, and did I mention that Al Di Meola is a mighty impressive guitar player? (9/10) 4. "Two To Tango" (4:13) Chick Corea's second appearance on this album, here playing his piano strings (muting them) in duet with Al's steel stringed acoustic guitar--definitely exploring the tango form. One of those songs that helps me appreciate how the Tango is often included within the umbrella of classical musical styles. (8.75/10)

5. "Al Di`s Dream Theme" (6:50) a bit of a return to the delicious mood of the tropical cabana life of "Silent Story in Her Eyes"--at least for the opening 90-seconds: then it all goes funk conga-line dancing with some flaming electric guitar soloing alternating with some off-setting/balancing Moog work from Jan Hammer. If this is supposed to represent one of Al's dreams, it was truly a crazy, jumpy-staccato dream. Most of Al's extraordinary guitar reaches, runs, and flourishes are by now so rote and almost expected as to render them kind of boring. Oh well. Not every song but such a dynamic and talented artist can be ground-breaking and totally original. (13.125/15)

6. "Dinner Music Of The Gods" (8:33) another song whose rhythm construct feels forced, basic, and unfit for an Al Di Meola display. Also, I do not like this "distant" sound effect Al has chosen (predominantly) for his electric guitar. Some cool interplay between keys and percussion in the third minute before Al can figure out how best to play off of Anthony Jackson's bass around the four-minute mark (the beginning of the best section of the song). Great performances top to bottom in the fifth minute. I even love Phillippe Saisse's harpsichord playing off of Al's steel-string acoustic in the sixth minute, I'm just not sold (or enjoying) that bass riff perpetuated by Anthony Jackson over and over. This unknown drummer named Robbie Gonzalez sure is doing a nice job on this oddly-metered and -syncopated song. Not a pretty or melodic song compared to some other beauties but definitely a rollicky display of stellar musicianship. (18.25/20)

7. "Splendido Sundance" (4:51) No longer can Al find a guitarist good enough to match wits with, so he plays with himself--on several tracks. This would definitely have been a great song to do in the famous Trio format (as it was done in 1980, only never released until 2022). This version is much better. (9/10)

8. "I Can Tell" (4:01) an odd opening with the pop-jazz rock keyboard and funk bass opening. Then singing! Al can sing (sounding and engineering a bit like Narada Michael Walden). And he plays the drums! Not the greatest but not bad. (8.66667/10)

9. "Spanish Eye"s (5:11) opens like a Jimmy Webb song performed by Glen Campbell and Chet Atkins. (But it's Lester!) Interesting and delightful from an historical value. (Lester could play!) Again Steve Gadd is relegated to an odd job. (What a waste.) (When I saw Al and Jan Hammer on this tour Steve was by far the most impressive thing in both bands.) The classic song's music is, of course, a mere gimmick to setup Al and Les' interplay. A nice display of guitar virtuosity. Thank you, Al! (9.3333333/10)

10. "Isfahan" (11:35) opening with a children's choir singing a cappella (with pristine sound capture and engineering) for 100-seconds before a group of chamber strings enters to prep us for some of Al's acoustic guitar play. Though playing on his favored steel-stringed axe, the style he's using is at first quite different than what we've heard from him before: more Moorish than Spanish. But then, it is, apparently, Chick's song, which would explain a lot. I really like this song for its musical divergence from the rest of Al's stuff but it does diminish it a bit knowing that it's not his song; why didn't Chick just save this song for release on one of his own albums? (A version of it does exist on Chick's 1985 release Septet, but it's 13:47 long, considered "Third Stream" music (meaning it's a fusion of jazz with classical music or orchestration), and performed with flute, French horn, and string quartet (and very beautiful). This one is nice, displaying a side of Al that we don't get to see enough of (so far) but not as beautiful as Chick's fully-realised rendition of his composition. (18/20)

11. "Bianca`s Midnight Lullaby" (1:54) a pretty little ditty that doesn't sound like you'd play it in your child's bedroom but, rather, on the summer porch outside her bedroom window. (4.5/5)

Total Time: 68:26

B+/4.5 stars; a near-masterpiece of guitar virtuosity on display within some pretty great compositions--especially "Silent Story in Her Eyes": one of my all-time favorite Al Di Meola songs. And don't miss getting to know a little of Les Paul's genius and talents on "Spanish Eyes" as well as Chick Corea's beautiful "Isfahan" composition.

My favourite album of all time, it is just blazing music and every note of this is perfection. It's a heavy album for 1976 with the music scene changing and more bands approaching into more mainstream music with a shining example being Chicago with starting with that big band jazz rock sound. This is obviously my favourite Al Di Meola performance on this, his tone through the whole album is so raw and intense and screechy and so powerful. My top Di Meola songs on here easily, I would have no problem putting in The Wizard, Suite: Golden Dawn, Short Tales Of The Black Forest and the title track of course are all way up there. Even the classical interlude & a weird mythical hippie cult song I absolutely love. This for would be the peak of Al Di Meola as with most Fusion bands and artists don't quite have it together on the debut but this is definitely one of the greatest ever made. The Al Di Meola sound is fused as Neoclassical Latin Metal Fusion that he does is fully formed on here, notably with the Wizard with just incredible, it's so fast & frantic. Very good production on here, not quite as good as Elegant Gypsey but still nothing to complain about at all. I adore the intensity and creativity on this as it is very proggy in areas with having two really long compositions with nearly ten minutes long.

In conclusion, this album is mostly not preferred over Elegant Gypsy but giving it that, it is still up there with on of the great Fusion album of the later part of the 70s.

Lately there was a thread on the Forum about Underrated Guitarists, immediately Al DiMeola came to my mind, although he is hailed by his fellow musicians. I checked the Internet and indeed, in most of the Best Guitarists Of All Time polls he is hardly to find in the Top 50, because it's often more about popular rock guitarists, like Eddie van Halen, Angus Young and The Edge.

Al DiMeola started to play guitar at an early age and used to practise between 8-10 hours a day. He was very inspired by Larry Coryell, Al loved his blending of jazz, blues and rock. At the age of 19 he joined the legendary fusion formation Return To Forever (with Chick Corea, Stanly Clarke and Lenny White), after the band disbanded Al DiMeola started a solo carreer, in 1976. In 1980 he played in a jawdropping acoustic trio with John McLaughlin and Paco de Lucia, I have seen this trio two times, "a wet dream for guitar aficionados!".

I consider Al Di Meola his guitar sound as unique and spectacular: fiery, powerful and often very speedy featuring howling and biting soli, propulsive riffs, exciting accellarations and his distinctive 'deading of the strings'. He collaborated with excellent musicians, from Jan Hammer and Jaco Pastorius to Simon Phillips and Phil Collins.

This compilation contains all the 'classic' tracks and also includes four previously unreleased tracks, the final two on CD-2 are recorded in Holland, in 1982 (Al Di's Dream Theme and Theme To The Mothership).

My highlights.

Land Of The Midnight Sun : swinging and dynamic with splendid interplay between guitar, electric piano and the rhythm section, an exciting percussive break and a captivating duel between the Minimoog synthesizer and guitar.

Race With Devil On Spanish Highway : spectacular propulsive rhythm and catchy guitar riffs and swirling interplay between guitar and keyboards.

Elegant Gypsy Suite : wonderful Spanish flavor with acoustic guitar and string-ensemble from Al Di Meola.

Medley: Short Tales Of The Black Forest/Fantasia suite for two guitars : virtuosic interplay between acoustic guitar, marimba and electric piano.

Alien Chase On Arabian Desert : spectacular Yamaha CS-80 synthesizer sound and a sultry climate delivering a sensational duel between the guitar and Minimoog.

God Bird Change : swinging and dynamic rhythm with again great interplay between electric guitar, keyboards and percussion and an exciting percussive break on conga's from Mingo Lewis (I knew this music from The Tubes live).

Electric Rendezvous : sensational atmosphere, very catchy and dynamic featuring howling electric guitar and flashy Minimoog flights from Jan Hammer.

Egyptian Dance-live : also very dynamic and exciting, trademark Al DiMeola solo work.

Crusin'-live : it sounds like The Mahavishnu Orchestra delivering splendid work from Al Di Meola and Jan Hammer.

Sequencer : features fiery electric guitar and Jan Hammer on the famous Fairlight computer delivering a catchy sequencer sound, this evokes the time that Jan Hammer worked with Jeff Beck on the classic fusion album Wired.

Bianca's Midnight Lullaby : Al Di Meola plays romantic acoustic guitar, the mellow side of his varied guitarplay.

For those who are into jazzrock, fusion and guitar-oriented music this compilation is a must, but I am sure lots of progheads who like powerful guitar and spectacular keyboards in dynamic and alternating compositions will be delighted. In my opinion Al DiMeola is an overlooked artist on Prog Archives, especially his 1976-1982 work is worth to discover, scouting the borders between jazzrock/fusion and progressive rock.

It was in '76 or '77 at the Paramount in PDX . . .

The live performance was 'note perfect', a blistering demonstration of technical acumen. Live yet sounding, as best as the ear can tell, Just Like The Album.

Demiola was the opening act for Weather Report -- who were having a bad day. There was a melt-down on stage from Joco.

Al Dimeola lit up the crowd and then blew us away! At the end of the evening Weather Report was -- also there...

By the time I got to the concert I had slavishly listened to the album dozens of times. I went looking for more from Al Di' after hearing Romantic Warrior from Chick Corea & Return to Forever, another you have.

The album was the first one I listened to by Al di Meola. Expecting fusion and straightforward fusion chops, it took me quite some time to get to appreciate it and to realize that fusion playing doesn't have to be rapid to remain credible. I was pleased, though, to hear a dominating electric guitar over acoustic one.

Take this as a world fusion album with more laid-back guitar, variety of rhythms and other instrument explorations and more attention to detail. There are more melodic tracks such as the first one "San Marc" that is clearly dominated by electric guitar or "Tao" We have longer tracks there that succeed in creating sunny world music atmosphere such as a great acoustic "Turquoise". We can hear Corea on piano on two compositionally non-distinctive and relatively short "Red moon" and "Cry for you". However, Corea's presence and Meola's motivated guitar lines raise the bar. Let's praise the high-quality rhythm section that marks the entire album. "Cry for you" is an acoustic duo fiddling piece, quite pleasing for ears even if not too memorable. "Tempest" is memorable for quite an intensive piano/guitar soloing. Overall, it's a good album and somewhat closer to classic fusion but more typical for late Meola's efforts.

This albums marks a return to a great shape for Meola. It contains brilliant playing on acoustic and electric guitars and what has not been always the case, an attention to detail and decent compositions. Rhythmically, the album is on top of the game; there plenty of speed changes, irregular beats and great percussion. Music is often dynamic, compositions varied and there are also quieter moments led by keyboards or percussion. Unlike some other Meola albums, there isn't only a heart and passion here but also a soul. Inspiration draws from contemporary fusion, world music (Latin and Middle East) and modern jazz. The obvious magnet for many will be the title track, a decent dynamic fusion number with a distinct motive/melody. If the album were 10 minutes shorter, I would rate it by an additional half-star.

The album starts quite lightly but the fusion high-star band with Jan Hammer on some tracks make it fly 100km/h with great guitar-Moog duets reminding of Mahavishnu. The combination with congos and intensive Latin feeling are irresistible.

Midnight is a mellower track and I like its spacy textures, acoustic piano and even a bass melody.

"Mediterranean sundance" is arguably Meola's best known composition and interestingly, on acoustic guitar. His leads the track all the way through. Next comes a heavy rhythmically driven ferocious fusion number, marvellous guitar pyrotechnics alternated with relaxed keyboard driven parts. If you think this the climax, then wait until the final suite that is more melodic and varied, also bringing back Hammer while Meola utilizes acoustic and electric guitars. A must have of guitar-driven fusion.

One of the most respected fusion guitarists all time, Al Di Meola first received fame in Chick Corea's group Return To Forever before launching his solo career in the mid-70's. His musical style is very flexible, combining elements of jazz, rock, classical and ethnic music. Doing a tribute album of The Beatles songs had been a long-time dream for him. "It simply was a search to find a way to combine my world (whatwver that is) into theirs, as I set out to do when I recorded the soöo guitar CD of Piazzolla in 2006", Di Meola writes in his liner notes in which he praises the personal and universal importance of The Beatles, his excitement to work in the Abbey Road studios and his haphazard meeting with Paul McCartney in Hampton in May 2012. The over-usage of exlamation marks in his text underlines Di Meola's sincere passion for the project!

So, this is a solo guitar work. Some tunes also feature his co-producer Hernan Romero on hand claps and chaca rhythm. The selection of 14 Lennon/McCartney songs (no George Harrison compositions included) is in my opinion fairly nice if not truly ideal. The early catchy hits are mostly absent. Sadly there aren't much from the two final Beatles albums either, only 'Because' from Abbey Road. The selection is emphasized on the c. 1965-67 era; for example four pieces from Sgt. Pepper. The originals such as 'A Day in the Life' and 'Being for the Benefit of Mr. Kite' are are so rich and perfect sonically that a solo guitar interpretation may feel rather inferior in comparison.

That's simply the price to pay in a project like this, especially when dealing with such well-known classic stuff that many a listener has a very close relationship with. Without a doubt there are more cover recordings of The Beatles compositions than of any other band, both sung and instrumental, in every imaginable style/genre I suppose, from Baroque to smooth jazz. And it's safe to say that most of them fail to impress deeply. I think this album is easily among the most succesful artistically of those -- not so many -- I've listened to. Al Di Meola's skills on the acoustic guitar are awesome, and his arrangements are inspired and as rich as pieces for a solo instrument can possibly be. If I felt somewhat disappointed by the opening track 'In My Life' featuring the hand clapping, during the near 55-minute album I began to enjoy it more and more. A special mention for 'Eleanor Rigby'. I don't know how its arrangement was done but it sounds like there was a string section. Elsewhere it's often the ripped-down approach that brings up the song's melodic essence in a fresh way, for example the closing piece 'She's Leaving Home'.

And despite the above mentioned risk of feeling inferior to the original songs, it's a certainty that knowing the compositions helps me to enjoy this album. I mean, a regular solo guitar album of unfamiliar compositions would probably tire me on the long run.

This is a sincere labour of love by an extraordinary musician. The ideal setting for listening to this album would be with a sweetheart sharing your interest in both The Beatles and peaceful acoustic instrumental music, more or less as a background music for your cozy time together.

Okay, okay -- he's fast, he's suave, slick, and oh so technically clean. Di Meola's furious, flamenco, fandango, fusion guitar work stands alone. Very few have really ever gained exact echoes of his style. That muted percussive staccato riffage with explosive lead breaks and sudden stop-n- go colorings of tone and note texture have always been impressive. Most folks came to know "Al D" via Return To Forever. He replaced Bill Connors. This gave a RTF a very different feel guitar-wise. Al D's style seemed to mesh very naturally with Chick Corea's leanings towards that Latin American and Spanish heart of things. Others came to discover Al D upon hearing his solo releases. I will have to say that to this day, my fav will always be his debut solo effort with Land of the Midnight Sun. Al D was trying so hard early on to express his own song-writing voice and excel on his instrument. An earnest, vital effort pours through everywhere. And so this 2CD anthology begins perfectly with the best cuts from that debut. I indeed purchased all Al D's releases year by year just to see how he would progress. This anthology fortunately represents most of the strongest songs from these solo works. What has bothered me about many of Al D's tunes from album to album was a certain predictable manner in riffs, song flow, and voicings. Al D has always had this leaning towards a . . . "balladic, romantic adventure, conquering hero saga" . . . song flow with latin rhythms, smooth jazz breaks, then crunch and overdrive guitars, and then back to that late-day stroll on the veranda kind of feel. Catch my drift? When I was seeking harder fusion and jazz rock leanings, I had to endure extended world jazz and romantic guitars. But hey -- many folks flocked to this mix and how sweet it was for Al D. Most of the cuts on both CDs represent some truly fine historic jams and superb fusion interplay betwixt the likes of Phil Collins, Jaco, Jan Hammer, Simon Phillips, Alphonse Mouzon, Anthony Jackson, and Lenny White to mention a few. Both discs feature unreleased live material. Four tracks of twenty are a brand new bonus listen. I found Al D doing "Theme To The Mothership" pretty interesting. An excess of Al Di Meola collections and best of's are circulating out there but you're most likely doing a best service to your ears just grabbing this one. There is more than enough of Al D here to satisfy.