AL DI MEOLA

Di Meola's acoustic album, recorded with his new project New Sinfonia musicians, with participation of guitarist Chris Carrington and Al's regular collaborator acoustic guitarist and producer Hernan Romero ( he is playing keyboards and sings there).

All album's music is based in Argentinean neo-tango genius Astor Piazzola's music (however includes Di Meola's composition as well). The music is fully acoustic, mostly guitars and bandoneon sound, with minimum of percussion and rhythm. Melodies all are what you're expecting from Argentinean neo-tango, perfectly played and arranged. But whenever there is not a big differences in style, this album, being great work for acoustic guitar lovers and neo- tango fans, could be a bit boring listening for jazz-rock listener.

Starting from this work, Al Di Meola will record a serie of world fusion albums during nearest 15 years.

Flesh on Flesh is possibly most popular Al Di Meola's album from last decade. In fact, his music is hardly very different from previous albums, but the main difference is Al goes electric.

It is not second "Elegant Gypsy", no way. The music is heavily influenced by Al's interest to world fusion of last decade. But using electric guitar sound, Gonzalo Rubalcaba on Fender Rhodes and part of his New Sinfonia collaborators, Al recorded a bit different album. Even if musical roots are the same, this album is more accessible for electric guitar sound lovers. It doesn't mean that there are not usual acoustic guitar pieces included, but having around half of all songs with electric guitar played gave the album much bigger difference in sound.

Music saved warmness of previous acoustic works and is full of Latin percussion and Mediterranean warm breeze. Not very different from World Sinfonia acoustic works, this album won listeners hearts with his electric /acoustic sound combination more than with musical material itself.

Strong Di Meola world fusion album, especially recommended for his electric guitar lovers.

Most monumental World Sinfonia album is recorded with big team of musicians, including Toronto Symphony Orchestra. Al Di Meola plays usual for his World Sinfonia project world fusion, based on Piazzola/Latin American music, but as usual, presented with soft and elegant Mediterranean arrangements. Compositions all are Al's or Piazzola's, music is very acoustic, perfectly arranged, sound is pleasant and never boring.

The only possible ingredient I missed is some fresh air: music is excellent, but very safe. It looks Di Meola found a right formula and continues to explore it. Even Piazzola's one of most popular songs "Libertango" is presented there. Very comfortable music, just needs a bit of new blood to be added to become perfect listening.

— First review of this album —

Al Di Meola found a big market for his music in Russia in late 90-s, first decade of XXI century. It is one of easiest way to see him live just by visiting Russia or Eastern Europe. Starting from late 90-s, you can hear Russian pop-folk influences in his albums. This album is his most serious attack on that market.

This albums collaboration between popular Russian pop-soul singer Leonid Agutin and Al Di Meola, playing his compositions acoustic and electric guitars. The musicians team is mixed as well: mainly Russian musicians, but percussionists Gumbi Ortiz ( from Di Meola's World Sinfony) and Vinnie Colaiuta are presented between some other quests.

The music is usual Agutin's songs ( wonder if someone knows his songs outside of Russia), mix of Latin-pop, white soul and Russian pop. Because of some great musicians participated, musical level is a bit higher than just regular pop-record. But it doesn't change the situation . Melodic pop music with Latin-scent , very light and sunny. Agutin sings in English ( with Russian accent), one song has popular Russian singer ( and Agutin's wife) vocals. Nothing else to say about this album.

Openly commercial release. It made a big commercial support to Agutin in domestic market, possibly made Al Di Meola even more attractive for Russian listeners. For sure gave some money to Di Meola. Everyone is happy.

Release for quality Russian pop music lovers.

Full-acoustic strings Al Di Meola Christmas album was a risky cases. The music there is a combination of few components, and the result is less than attractive.

First component is Russian pop-folk element ( or kitsch-folk elements). Al Di Meola has long collaboration history with some Russian pop-musicians, even released some recordings with them. I think the problem there is Di Meola just used Russian pop-folk instead folk roots for blending his world fusion. As successful he was blending Latino-jazz, neo-tango and Mediterranean music in world fusion of World Sinfony, as unsuccessful he is there, blending Russian pop-folk in strange kitsch/new age/lounge music. Possibly, he didn't succeed because of being unfamiliar enough with musical material.

Another component is Hernan Romero ( on acoustic guitar and production). I am quite familiar with Romero music, even listened him live ( in duet with Russian acoustic guitarist, one more Di Meola clone). He is quite competent Latino acoustic music guitarist, but hasn't own style, and often are too lounge-oriented in his sound. Here (for bad) he brings both his signatures - faceless acoustic guitar and polished down tempo lounge/new age production.

So, even being great guitarist himself, Al Di Meola recorded one of his below-the - average level album there. I think it could be interesting for listeners outside of progressive rock, world fusion or jazz only. Pleasant easy listening.

After his glorious time as solo electric jazz fusion guitarist, Al Di Meola turned to acoustic world fusion and recorded this great album, which gave the birth to his World Sinfonia project .

Acoustic guitar jazz fusion is sometimes nice music, but have too many limitations, so doesn't have big fan base. There Al combines his acoustic guitar sound with second (classical) guitar, bandoneon (read - Italian accordion) and percussion section. Sound become more different ,warm and even nostalgic.

Music itself is melancholic melodic mix of Mediterranean melodies, Middle East touches and Piazzola's neo-tango influence. Great mix!! And you even will find RTF( more correctly -Corea's) No Mystery long version there.

All the music has it's unique sound because of Di Meola's (and team of musicians, that from now will become New Sinfonia project) unusual material reading: differently from hot emotional Latin rhythms, all the music is very acoustic, atmospheric, tasteful and nostalgic, let say ,more on Italian manner. This great result will be continued on few more New Sinfonia's albums.

Excellent album for fans of acoustic world fusion. Not too much jazz however.

Al Di Meola plays world fusion. His guitar work is as good as usual, but has no big possibility to realise it's potential on such musical material. Great drumming as well. Some Mediterranean motives sounds nice, but are too faceless to be remembered after listening.

All music sounds very competent, but whenever it is light mix of world melodies and some lounge jazz ,very polished and prepared for pleasant relaxed listening, don't expect to find here even a touch of experimental sound. Just quality music for relaxed listening.

Around 2,5.

— First review of this album —

The Brazilian only release is compilation from three Al Di Meola albums - Cielo e Terra, Soaring Through a Dream, and Tirami Su. Acoustic, atmospheric album, totally different from early Al Di Meola electric fusion works. "Coral" is Keith Jarrett's composition, taken from Cielo e Terra album."Rhapsody Of Fire" and "Beijing Demons" are his earlier world fusion compositions both.

In fact , albums all is strong and representative. The only problem is very characteristic for Di Meola from that period - high technique level is combined with very cold , emotionally colourless musicianship.

In fact , this release is based on "The Best of Al Di Meola: The Manhattan Years" Blue Note album ( with different cover and songs order). This album is a part of the collection, published by the Brazilian newspaper Folha de São Paulo from Sep 30th, 2007 to Feb 3rd, 2008,which consisted of 20 books (which tell the story of the featured artists), plus 20 CD (re- released albums or compilations). To promote the collection release, the company developed a massive marketing campaign broadcasted by radios and TV stations.

This is the first album that I had ever heard from Al DiMeola. Steered to ADM by a friend, I thought that having Bruford, Collins and Levin on this album that would be spectacular. Unfortunately, the 3 guest only cover 2 tracks as Bruford and Levin are on 1 track and Collins is on another. There are plenty of drum machines and sequencers on this album and also plenty of Jan Hammer. While not put off as much as many on this site by the 80's sound, some of that sound here is generic. At the time, I was astonished about the guitar stylings of Mr. DiMeola. There is acoustic and of course electric guitar, plus a healthy dose of World Music mixed in and another has Far East influences. Some of these sounds he would explore deeper in the albums to come.

I enjoyed this album quite a bit when it came out but as I found out later, this was only the tip of the iceberg. I want to give this four stars but honestly, I think it falls a little short of the mark.

3 stars

Bill Bruford, Phil Collins and a sequencer

Scenario was the album where Al Di Meola's approach changed radically and for ever after. He turned away from the kind music he had been doing on albums like Casino and Elegant Gypsy and took a large step towards the music he would do later. Some fans of those earlier albums might really dislike this one and I myself was left a bit confused with it. However, when judged for what it is, on its own merits and not in relation to earlier works, it is actually not that bad. Indeed, Mata Hari is a very good track with a Far Eastern feeling. Sadly, the album tends to drift more and more towards easy listening as we approach the middle of it. For me it becomes rather tedious after a while and it is very difficult to find motivation to listen to the whole album in one go.

As I have implied, the sound and feeling is very different from on earlier albums. There are sequencers here sounding very much like on Vangelis work of the time and Di Meola even seem to borrow some moods from Vangelis. The music is often laid back, not very colourful and a bit sterile. The role played by sequencers and drum machines is much larger than the presence of guest drummers Bill Bruford and Phil Collins. With such drum greats involved, it is disappointing to hear so little great drumming. But it is clear that Di Meola was not afraid of change and trying out new things. There are still electric guitars here and the all acoustic, World Music influenced, works Di Meola would do later are only hinted at here. But it was with this album he changed direction.

When in the right mood I can enjoy parts of this album very much, but overall I find it difficult to listen to the whole album. I can recommend this only for fans and collectors.