Al Di Meola - Twentyfour

Styles: Guitar Jazz
Size: 194,9 MB
Time: 82:35
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Fandango ( 7:11)
2. Tears of Hope ( 7:19)
3. Esmeralda ( 4:58)
4. Capriccio Suite ( 7:27)
5. Ava's Dance in the Moonlight ( 8:03)
6. Immeasurable Part1 (10:01)
7. Immeasurable Part2 ( 3:57)
8. Eden ( 4:29)
9. Close Your Eyes ( 4:10)
10. Immeasurable Part3 ( 6:11)
11. Paradox of Puppets ( 4:11)
12. For Only You ( 4:00)
13. Genetik ( 3:18)
14. Testament 24 ( 2:43)
15. Precocious ( 4:31)

Today guitar legend Al Di Meola releases his new album “Twentyfour,” a testament to his immense creativity. Although Al has released 34 albums, the title refers to the fact that it was completed and released in 2024. As he tells Australian Musician, the title was a record label decision, they liked the fact that it was ‘confusing’!

Conceived during the tumultuous times of the pandemic, what started as a simple acoustic project evolved into something much grander. Al’s initial intention to craft a reflective acoustic album on the challenges of the time expanded exponentially as he found himself unable to resist the allure of boundless musical exploration.

Over the span of four years, “Twentyfour” blossomed into a masterpiece, brimming with intricately woven melodies, diverse instrumentation, and captivating highlights. It’s a journey through Al’s musical evolution, showcasing his virtuosity and vision in those special times. Each track is a moment within these four years and a contemporary witness to the events.

Australian Musician editor Greg Phillips spoke to Al Di Meola via zoom to discuss the making of his new album ’Twentyfour’.
https://australianmusician.com.au/features/al-di-meola-the-twentyfour-album-interview/

Twentyfour

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Al Di Meola, John McLaughlin, Paco De Lucia - Friday Night In San Francisco

Styles: Guitar, Bop
Year: 1981
File: MP3@320K/s
Time: 41:13
Size: 94,7 MB
Art: Front

(11:35) 1. Mediterranean Sundance · Rio Ancho
( 8:44) 2. Short Tales of the Black Forest
( 7:57) 3. Frevo Rasgado
( 8:54) 4. Fantasia Suite
( 4:01) 5. Guardian Angel

On 5th December, 1980, Al Di Meola, John McLaughlin, and Paco de Lucia were two months into what had so far been an extremely successful and creative tour. Even just the concept itself was intriguing three guitarists, and acoustic to boot! With not a drummer, percussionist, or bassist in sight. The sheer novelty of it all. Recorded at the Warfield Theatre, California, Friday Night in San Francisco manages to capture this triumvirate trio of instrumentalists at the apex of their abilities.

Now Paco, although he wasn't all that well known outside of Spain, was already something of a super star of Flamenco, and whose virtuosity on guitar was as much respected as it was unmatched. McLaughlin was undoubtedly the most renowned, having played with Miles Davis, Chick Corea, Tony Williams, Jimi Hendrix, Santana, along with pretty much the who's who of jazz-rock and everyone else in between. Di Meola was probably somewhere in the middle of the other two. His career began officially when he became a member of Return to Forever, before releasing a series of highly acclaimed solo albums, and was also voted best jazz guitarist four times in Guitar Player Magazine (in other words, the bloke had a following).

Now some Flamenco purists might turn their noses up at the fact that Di Meola and McLaughlin are using a plectrum, when Paco wasn't. But that shouldn't bother the listener one bit. All that matters is the music itself; and plectrum or no, this is unquestionably some of the hottest acoustic guitar ever to have been performed in front of a live audience.

The performance opens with a dazzling duet between Al and Paco on "Mediterranean Sunset," a Di Meola composition first released on his second solo album Elegant Gypsy in 1977. Al's signature light-speed riffs are everywhere, while Paco plays some ferocious Flamenco. Both are in perfect simpatico throughout, right to the scintillating and exciting climax at the end. Exhilarating for both players and audience alike I'm sure.

Next we have Chick Corea's "Short Tales of the Black Forest," where Di Meola and McLaughlin really do pull out all the stops as performers, like two gunslingers attempting to prove who can shoot the furthest and fastest. There is even a brief reference to Henry Mancini's "Pink Panther" thrown in for good measure, something which elicits much laughter from the audience. They also throw in a little 12 bar blues before finishing with a fiery crescendo.

"Frevo Rasgado, a song written by Egberto Gismonti, begins side two, where this time we have McLaughlin and Paco locked together in mortal six string combat. Personally the money's on Paco, but McLaughlin's not too far behind. Both manage to give as good as the other, as far as this listener's concerned, and while it's Paco who probably has the edge, their exchange is purely magical all the same.

Di Meola's "Fantasia Suite" finds all three on stage exchanging notes at an ever complicated rate. One can hear occasionally an audience member cry out during the quieter moments, but even on LP the listener is simply overwhelmed by the sheer synergy and power on display here. It's as if they had of had a dose of speed about an hour before the show. And that's what must have impressed people at the time, no matter how sophisticated they might have been.

Oddly, the final track is a studio recording made in White Plains, New York. Written by McLaughlin, "Guardian Angel" finds the trio managing to capture not only the complexity of their playing, but also the camaraderie between all three men. It is a relationship which lasted for many years, as attested to by the numerous reunions that took place over the proceeding decades. Paco De Lucia was Spain's equivalent to Jimi Hendrix. And it was this album, more than anything he had done before, which really put him on the map, thus exposing a multitude of people for the first time to the genius of Flamenco, almost in the way that Carmen Amaya had some forty-years before. Yet this was the record which proved that guitars didn't need to be electric in order to be exciting. Because from this a new sense of sophistication had arisen, inspiring a whole new generation of guitarists in the process. And for that at least you have to give them credit where it's due.
https://www.allaboutjazz.com/friday-night-in-san-francisco-john-mclaughlin-al-dimeola-paco-delucia-columbia-records-review-by-sacha-ogrady

Personnel: Al Di Meola: acoustic guitar; John McLaughlin: acoustic guitar; Paco de Lucía: acoustic guitar

Friday Night In San Francisco

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Al Di Meola - Opus

Bitrate: MP3@320K/s
Time: 57:51
Size: 132.4 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[ 7:54] 1. Milonga Noctiva
[ 5:20] 2. Broken Heart
[10:00] 3. Ava's Dream Sequence Lullaby
[ 5:39] 4. Cerreto Sannita
[ 5:02] 5. Notorious
[ 3:19] 6. Frozen In Time
[ 3:59] 7. Escapado
[ 1:38] 8. Pomp
[ 4:17] 9. Left Unsaid
[ 5:41] 10. Insieme
[ 4:57] 11. Rebels

Al Di Meola is unquestionably one of the great guitar innovators of his generation. His formidable technique and fluency in a number of styles has placed his name indelibly in the history of jazz and improvised music. However capable he may be at the guitar, it would be a mistake to place his music in the category of garish guitar based exoticism. Di Meola has a compositional maturity that combines his advanced knowledge with a traditional harmonic palette.

The album begins with cascading acoustic guitar arpeggios. Textures swell underneath as string lines flow in and out, accentuating melodic lines. A conversation takes place between the guitars which is a reflection of the performers humanity. Mainly peaceful, the guitarists occasionally raise their voices as things get heated. Di Meola demonstrates his dexterity during the composition but the emphasis remains on the sharing of dialogue rather than any vulgar displays of virtuosic shouting. Built upon an infectious 6/8 groove, Di Meola contrasts the movement in the main riff of Broken Heart with long notes on the electric guitar. The music is like an ocean... seemingly calm while an abundance of activity is taking place below the surface. The beauty within Ava's Dream Sequence Lullaby comes from its connection to traditional harmony, the spaciousness of the instrumentation and the melodic improvised lines. When the music resolves unexpectedly to a major chord, it is a heartwarming experience. The music climaxes with a change of rhythmic feel where gentle percussion work, along with the lack of a bass instrument, produces a delicate lightness. You could almost consume the music with one deep breath.

Di Meola talks about a Led Zeppelin influence creeping in to Notorious. There are no thundering Bonham beats or deliciously chaotic pentatonic guitar runs. The inspiration comes in the form of Led Zep’s combination of funk grooves, blues tinged harmony and Eastern scalic investigations. It becomes complicated, and unnecessary, to separate Di Meola’s improvisations from the composed melodies. Lines are constructed, which you think are spontaneous, then suddenly they sync up with another instrument. All credit to the compositional detail on the album.

Escapado has a danceable rhythm which is a strong contrast with much of the music heard thus far. The descending chromatic line that underpins the harmony brings a sense of explosive expectation which releases as the drums switch to a half time feel. A cut of the wires before the strain becomes too much to bear. Rhani Krija duets with Di Meola on Pomp. The string sounds are in such subtle synchronicity with the guitar that it must be assumed they are being trigged by the instrument. It is compositional detail like this that gives the album its depth. Sophisticated and complex lines weave and dance like two intellectuals trying to outwit one another on Insieme. When chords appear they are played with flamenco-like gusto. The introduction of bass brings a textural change and gives weight to aspects of the discussion.

The album closes with the fluid electric guitar lines which Di Meola was so celebrated for while playing with Return To Forever. Beginning as a hard driving jazz rock powerhouse, an unexpected turn is taken into a Cuban piano montuno. This links in with a bass riff which wouldn’t sound out of place on a heavy metal album.

Di Meola presents us with one final, understated music lesson. The point of which is that music from across the world is inextricably linked. Of course each genre has its intricacies and its unique elements but perhaps a blind dedication to these traditions prevents a great deal of exciting and innovative music from being created. Di Meola is in no danger of falling in to that trap. ~John Marley

Opus 

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The Al Di Meola Project - Kiss My Axe

Styles: Guitar Jazz

Year: 1991

File: MP3@320K/s

Time: 66:24

Size: 153,7 MB

Art: Front

(5:22)  1. South Bound Traveler

(5:49)  2. The Embrace

(5:04)  3. Kiss My Axe

(7:40)  4. Morocco

(2:35)  5. Gigi's Playtime Rhyme (Interlude #1)

(8:20)  6. One Night Last June

(7:53)  7. Phantom

(2:32)  8. Erotic Interlude (Interlude #2)

(5:42)  9. Global safari

(2:00) 10. Interlude #3

(6:45) 11. Purple Orchids

(1:18) 12. The Prophet (Interlude #4)

(5:19) 13. Oriana (September 24, 1988)

Despite the aggression its title implies, Kiss My Axe is the work of a softer, more reflective Al di Meola, who had become greatly influenced by Pat Metheny's subtle lyricism, but still had a very recognizable and distinctive sound. Di Meola's new approach was perfectly summarized when, in 1991, he told Jazz Times he wanted to be "enchanted" by the music instead of dazzling listeners with his considerable chops. Di Meola still has fine technique, but avoids overwhelming us with it, and shows more restraint than before. One thing that remains is the guitarist's strong interest in world music this imaginative session liberally incorporates Latin influences (Brazilian, Spanish, Peruvian and Afro-Cuban) as well as Middle Eastern and African elements. In that Jazz Times interview, Di Meola explained that this CD's title resulted in part from his frustration over the fact that many labels and commercial radio stations were choosing bloodless "elevator muzak" over more adventurous fusion. Consistently rewarding, Axe makes it clear that Di Meola did the right thing by refusing to compromise. ~ Alex Henderson  http://www.allmusic.com/album/kiss-my-axe-mw0000270627

Personnel:  Al Di Meola – electric and acoustic guitars, keyboards, percussion;  Barry Miles – piano and keyboards;  Anthony Jackson – electric six string contrabass guitar;  Rachel Z – synthesizers;  Gumbi Ortiz – congas, bata, percussion;  Omar Hakim – drums (tracks 3 & 9);  Richie Morales – drums (tracks 2, 4, 6, 7 & 11);  Tony Scherr – electric and acoustic basses;  Arto Tunçboyaciyan – bongos, percussion, voice.

Kiss My Axe

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Al Di Meola - Elysium

Styles: Guitar Jazz,  Fusion
Year: 2015
File: MP3@320K/s
Time: 65:54
Size: 151,5 MB
Art: Front

(6:49)  1. Adour
(5:06)  2. Cascade
(4:11)  3. Babylon
(6:04)  4. Purple and Gold
(4:37)  5. Esmeralda
(4:23)  6. Elysium
(5:17)  7. Amanjena
(4:44)  8. Sierra
(1:26)  9. Etcetera in E-major (Intro)
(5:18) 10. Etcetera in E-minor
(3:35) 11. Tangier
(6:32) 12. Stephanie
(3:15) 13. Monsters
(4:30) 14. La Lluvia

On Elysium Al Di Meola is playing both electric and acoustic guitar, in the style that is uniquely Al Di Meola's. Elysium features many new originals from one of the world's greatest guitarists. He came from the 'Land Of The Midnight Sun', sparkled on the jazz-rock stage as an 'Elegant Gypsy', came up trumps in the 'Casino' with all the right chords and melodies, and his 'Splendido Hotel' was the number one address for fusion fans around the globe. He finally achieved immortality together with John McLaughlin and Paco de Lucia on 'Friday Night In San Francisco'. For guitar lovers, the name Al Di Meola carries the same guarantee of quality that Ferrari does for sports car enthusiasts or Chateau Mouton-Rothschild for wine connoisseurs.

Al Di Meola was born in New Jersey in 1954 to an Italian-American family, and from his early days as a rising star in Chick Corea's legendary fusion combo Return To Forever right up to the present day, he has continually managed to refine his qualities: breathtakingly fast picking, skilful percussion effects the like of which had never been heard before, the effortlessness with which he can instantly switch from muscular axe-man rock to spinning gentle, romantic webs of melody. In the nineties, inspired by his love of the acoustic sounds of Latin America and the works of nuevo tango pioneer Astor Piazzolla, he made some delightful chamber music recordings with his group World Sinfonia. On more recent albums such as 'Consequence Of Chaos' (2006) and 'Pursuit Of Radical Rhapsody' (2011), all these penchants, influences and musical movements have fused into an unmistakeable sound: jazz rock meets world jazz. It's a stylistic aerobatics display, circling up to dizzying heights reminiscent of the boisterous solos Al used to play in his youth.

'Elysium' is the climax of this process so far. The artist has arrived where he always wanted to be. He himself thinks of Elysium as a 'place of perfect happiness'. A paradise where acoustic and electric components, triumphant rock and finely entwined jazz, delicate and pumping rhythms, guitars and keyboards, wide panoramas of rock and diaphanous carpets of sound come together in harmony. In this magical Elysium, everyone complements each other. Al Di Meola has brought together a five piece band with no bass. While he plays all the guitar parts himself, both acoustic and electric, including unbelievably fast and elegant riffs and effervescent rocking chords, three keyboard players and pianists provide shades of colour. This trio includes new recruit Philippe Saisse, who also contributes the composition 'La Lluvia'. The others have shared musical accomplishments with their band leader going back decades. Barry Miles has known Al since the seventies. Mario Parmisano can be heard on recordings such as 'Orange And Blue' (1994) and 'Flesh On Flesh' (2002). Two new rhythm players have now joined the team: percussionist Rhani Krija and drummer Peter Kaszas. Both of them are wide awake and always right up with the beat. The gates to paradise for guitar aficionados are open to everyone with 'Elysium'. ~ Editorial Reviews  http://www.amazon.com/Elysium-Al-Di-Meola/dp/B00P1YBEN2

Personnel: Al Di Meola (guitar); Mario Parmisano, Philippe Saisse, Barry Miles (keyboards); Péter Kaszás (drums); Rhani Krija (percussion).

Elysium

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Al Di Meola - The Best Of Al Di Meola: The Manhattan Years

Bitrate: MP3@320K/s

Time: 55:08

Size: 126.2 MB

Styles: Guitar jazz, Fusion

Year: 1992/2011

Art: Front

[5:18] 1. July

[7:53] 2. Traces Of A Tear

[5:20] 3. Maraba

[8:45] 4. Song To The Pharoah Kings

[7:00] 5. Etude

[4:56] 6. Rhapsody Of Fire

[3:17] 7. Coral

[6:21] 8. Beijing Demons

[6:14] 9. Ballad

This is the best of Al di Meola's years with the Manhattan label, which only included three releases: Cielo e Terra, Soaring Through a Dream, and Tirami Su. The selections here are an adequate representation of his output during this three-session stint, so this is fine for the casual fan. Those with more interest are encouraged to check out all three of the aforementioned releases, as they are all excellent. ~Robert Taylor

The Manhattan Years 

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