CONSEQUENCE OF CHAOS

Di Meola returns with his best work since the seventies. It's almost as if he decided give up experimenting for the time being with African and Middle Eastern influences and just let it rip, Mediterranean style. He even brought many of his old fusion buddies on board, most notably keyboardists Miles and Corea. I don't know if they recaptured some old magic, but I at least hear a lot more interaction between the players, which is absolutely essential for instrumental music--and something his recent work has noticeably lacked.

This is not a concept album, but it does have an unmistakable cohesion and flow, with an excellent balance between uptempo blasts of intensity and mellow, tender portions. Di Meola also does a great job alternating between acoustic and electric guitars, often within the same song, to great effect: things rarely feel boring or repetitive. An excellent example is the opener, San Marco, a Latin-influenced toe-tapper that grabs you right at the moment di Meola's guitar enters. Other highlights include the excellent piano fills on TAO, the haunting closing melody to Azucar, the excellent percussion in Red Moon, and the old-fashioned di Meola shredding to be found on Tempest. Those are my personal highlights, but the entire album is solid throughout.

Overall, di Meola and company have really put together a quality album. To be honest, I wasn't sure it was still possible, but now I have the evidence in my CD changer, and I couldn't be happier to have been so wrong. The best part is that they are not simply copying their seventies fusion work; quite the contrary, as it sounds as if these musicians have truly matured over time.

The return to electric guitar

I have heard only most and not quite all of Al Di Meola's many solo albums, but I still think it is safe to say that Consequence Of Chaos is his best album since the amazing duo of Casino and Elegant Gypsy in the mid-70's. Indeed, in many ways the music on this album is a half-way meeting between the Jazz-Rock of those classic albums and the kind of World Fusion Di Meola has made since then. While he re-introduced his electric guitar already on some previous albums, Consequence Of Chaos sees him giving electric and acoustic guitars equal space for the first time. He often duels with himself on electric and acoustic which is amazing!

The most important aspect to the success of this album is that this time all the material is Di Meola's own; no Astor Piazzolla, no Return To Forever classics (though Chick Corea is present on piano). The material is impressive with many very memorable Jazz-Rock/Fusion compositions several of which sound like instant classics of the genre! Di Meola has really matured as a writer. There are many memorable passages and despite a running time of just over an hour, he manages to keep it mostly interesting throughout (even if I admit that it could have been shortened slightly to make the impact more direct).

Another important factor is the collaborative spirit on display here. This does not sound like a one man show anymore, but there is a strong band feeling. All in all there are eight different people involved in this recording playing different instruments including various keyboards, bass, drums and different percussions as well as some more exotic instruments. There is a very appealing mix between acoustic instruments and electric ones as well as between the very modern and the classic. There are influences from Jazz, Latin, African and other styles. This music really takes you places!

The longest composition is over nine minutes and is probably also the most complex piece. However, it is not the best one here. Some of the shorter pieces are the highlights for me including the excellent opener San Marco (which also closes the album in a very different version).

If all you ever have heard from Al Di Meola is his first three solo albums, then Consequence Of Chaos is a great place to continue exploring and as such it is an excellent addition.

Best Al Di Meola work during some last years. Chick Corea, John Patitucci, Steve Gadd and ADM New Sinfonia team all participated on this album. And most important - there are plenty of ADM electric guitar!

The music is not a jazz fusion of his early years, but world fusion. But differently from his early world fusion works (with New Sinfonia mostly), this work is not such acoustic melancholic Mediterranean music, but full-bodied electric African-Mediterranean songs, with beautiful melodies, difficult rhythms, excellent musicianship, with light jazzy feeling all around. Happily, I heard this musical material during ADM world tour, it sounded live as beautiful as it sounds on this recording.

Possibly, his best world fusion work, very recommended for all ADM fans. And those who loved his electric music some years ago, can easily try this work - you wouldn't be disappointed, I think.