Al Di Meola

This is a good debut by electric/acoustic guitar virtuoso Al DiMeola, who originally came to my attention through his work with jazz rock outfit Return to Forever. Al is truly a musician's musician, which is why my orchestra/jazz band cronies and I would pore over every note of this album in high school.

The lineup on Land of the Midnight Sun (1976) brought together some of the finest musicians in the jazz rock realm and Al (6 and 12 string acoustic guitars, electric guitar, synthesizer, and percussion) is joined by several electric bass guitarists: Anthony Jackson (1, 2), Jaco Pastorius (5), Stanley Clarke (4); and drummers: Steve Gadd (1), Lenny White (2), and Alphonse Mouzon (5). Rounding out the core lineup are keyboardists Chick Corea (6) and Barry Miles (2, 5); percussionist Mingo Lewis (1, 2, 4, and 5); and female vocalist Patty Buyukas (4). I think it goes without saying that these folks are all first chair performers and the playing is simply jaw-dropping. Al in particular dazzles throughout with his rapid fire scalar runs on both the acoustic and electric guitars. He also demonstrates that he is reasonably adept at composition/arrangement too, including some of the longer jazz rock/prog pieces such as Land of the Midnight Sun, Suite-Golden Dawn, and the delicate, shorter piece Love Theme from "Pictures of the Sea".

At the heart of this album are three riff-heavy tracks that boast warp-speed ensemble playing and impossibly difficult time signatures - The Wizard, Land of the Midnight Sun, and Suite - Golden Dawn. Fortunately however, the album is also fairly diverse and ranges from the three, highly electric jazz rock/progressive rock rave-ups to a pleasantly subdued adaptation of a Bach piece played on acoustic guitar. Other quiet pieces include the duet between Chick Corea (acoustic piano) and Al (acoustic 6 and 12 string guitar) on Short Tales of the Black Forest. Additional splashes of variety in timbre/texture include the Latin-flavored percussion playing of Mingo Lewis; the combination of the female vocalist and Stanley Clarke's vocals on "Pictures of the Sea"; and the breathtaking interplay between the mind-blowing and intricate (yet funky) bass lines of Jaco Pastorius and Al's precise, staccato bursts of notes on the electric guitar (Suite - Golden Dawn). Unfortunately (for this keyboard lover), the use of keyboards on the album is somewhat subdued - Al may have wanted to focus on more a guitar-based sound, although the few instances of electric piano and synthesizer use are impressive, as is the acoustic piano playing of Chick Corea.

Although this album has not been remastered, the sound quality is actually fairly good. The liner notes are very skimpy however.

All in all, this is a good album of proggy jazz rock with enough spice and variety that it kept my interest throughout. Land of the Midnight Sun is recommended along with the excellent follow-up album Elegant Gypsy (1977) to those fans of both progressive rock and jazz rock.

This one is a great album. I've had the vinyl, the cassette and the CD. I didn't do that for Led Zeppelin.
Al DiMeola is a phenomenal guitar play and an imaginative writer. Get them all.

Land of the Midnight Sun was Al Di Meola's first solo album and he really played his fingers off on this one! If you are familiar with Di Meola's playing at all, you will know he had played with Chick Corea for a little while in his younger days. He was 21 when he recorded this with some of the best know names in jazz music at the time (Steve Gadd, Anthony Jackson, Lenny White, Jaco Pastorius, Stanley Clarke, Alphonse Mouzon, Chick Corea). When you've got those ingrediants in your soup it's hard to screw up. It's always about the music though and I do really enjoy listening to this music. My favorites are "Suite - Golden Dawn" and the mind blowing duet with Chick Corea, "Short Tales of the Black Forest". Al Di Meola is best known for his lighting fast licks and there are plenty on display here. I highly recommend this disc to fans of jazz, guitar students and anyone who likes tight musical compositions (sometimes played at breakneck speeds I might add). If you like the samples on this one, I also highly recommend Di Meola's next 2 discs, Casino and Elegant Gypsy. His sound matures like a fine wine on the next two recordings as does the production. Mrs. Di Meola has got to be proud that all of those guitar lessons were well spent. I thank them both. - Ciao.

However you prefer to categorize this album, it is fantastic from all points of view - there is no need to talk about Al's guitar technique - everyone knows it is great - but what surprised me after hearing this CD a few times is the epic quality and complexity of the compositions, the imagination, the willingness to go wherever the muse leads... That is the real strength of this album. It is easily overlooked by progressive and classic rock fans, because Al comes from a "jazz" background. Yet his sound unmistakably embraces progressive rock, and even takes it into realms where not many rock artists dare to venture - improvization. This album is a nice blend of tightly and expertly composed music and improvizational wizardry. Call it fusion, call it rock, who cares? It has a special place in a fusion fan's as well as a progressive rock fan's collections.

Al is the man! His early recordings are my favorite. This one is among the best!

This is by far on of the finest guitar albums of all times. It is a must for any player or fan of guitar music. These are three of the best players all together.

You would be hard pressed to find a more technically spectacular acoustic guitar project. Linking up three of the worlds greatest would have virtually guaranteed critical success, but the varying compositions and techniques employed at such a constant pace ensures listeners you are indeed listening to the world's best-combined. All one can say in offense is that the skill level is just too high, compounding musical ideas into an almost overwhelming proficiency at turns.

They are all wonderful acoustic recordings. In my humble opinion this is the best of the set. The Paco, Al, and John synergy is hard to surpass.

This cd is a wonderful release by three of the top Jazz guitarists in the world. John McLaughlin, Al Dimeola, and Paco de Lucia combine their talents to create a compelling, fast paced acoustic bossa nova tinged jazz record. Each song features elegant riffing and frenetic runs up and down the fretboard. This music is lightning captured on disc, and it makes for a sizzling instrumental masterpiece. 5 stars easy!

I'm sorry to all the people who've praised this album so far, this was the only album (of the ones that I've owned) by ANY of the three great guitarists that I gave away for free. For those who enjoy the Azzura and Beyond the Mirage renditions found on this album, I can assure you that there exists a better version of each on Al Di Meola's "The Infinite Desire" album ... don't believe me, just go out and listen to this cd. As for Paco De Lucia, with the realease of "Cositas Buenas" he returns to playing the style that he was born for, and to me that is much more rewarding than hearing him on this cd trying to showcase his ability to go hand in hand with the other two guitarists ... quite frankly he's in a league of his own when it comes to the
guitar! As for John McLaughlin he's more mainstream than the other three ... yeah he has more of those over sappy lovey dovy tunes that corrupted North American music throughout his albums. To me he belongs with Joe Satriani, Steve Vai, Eric Johnson, George Lynch ... the G3 style of guitarists. As good as he is technically, I don't think he's on par with the other two guitarists on this album. Sorry for the directness, it's how I felt about this album! That's why it was an easy give-away.

I couldn't believe it when I read these other reviews before me. I was eighteen years old when I first heard this album in 1977 and it blew me away then as it still does today. Al Dimeola is a master guitarist and it just amazes me how someone with such virtuoso talent as he obviously has can be criticized by these two bit miserable excuses for belly-aching, complaining, sh-t for brains amateurs like yourselves. It doesn't take someone schooled in musical theory to recognize Mr. Dimeola as the wondrous musician that he is. Go back to your Yes, Deep Purple or whatever the hell else you listen to (probably Kiss too, I suspect) and please don't darken these pages with your second rate complaints.

I bought this as an LP when it was first released and proceeded to wear it out. My leanings were decidely hard rock at the time but was just discovering jazz fusion. This is an excellent musical effort and is best listened to with attention and when interuptions can be avoided so the full effect of the journey this album will take you on can be appreciated.

a nice follow up to the fusion classic,elegant gypsy.here on this particular set,al goes for a more conservative approach,as far as incorporating,more latin,and flamenco style acoustic guitar.just check out the beautiful,yet haunting,egyptian danza.and there is still fiery guitar numbers,such as the title track,and chasin the voodoo.a very good cd,and definately one to add to your collection.

Al's credentials as a master guitarist are unassailable. While this may not be his best work overall, the uninitiated can count on dazzling speed combined with crystalline clarity. If you've never heard Al's work, the closest comparison might be Carlos Santana's jazz albums, without the pop/rock influence. The production is extremely clean and polished, and the arrangements are very tight, so jazz enthusiasts who like their music warm and loose and mellow may be disappointed here. That said, no serious aficionado of jazz fusion guitar will want to miss this recording.

The opening one-two punch of "Egyptian Danza" and "Chasin' the Voodoo" is probably a mistake. Not that these are bad songs, but they're just too similar - both feature fast-paced, relentlessly hard-driving rhythm tracks that back Al's most frenetic melody lines. Actually, these two pieces are my personal favorites, but on first listening they sounded too much alike, always a danger for instrumentalists. Next us is "Dark Eye Tango" which has a welcome slow groove that has Al's guitar singing a melody rather than screaming it, but a few minutes in the pace picks up and we're tearing along again. So while these really are three terrific tracks, they do leave the impression that Al's just a one-trick pony.

Having shot his wad so early on, the rest of this recording is a bit of a letdown. Al covers Chick Corea's "Senor Mouse" again, and the closer, "Casino" is eminently forgettable, but he redeems himself with the acoustic showcase "Fantasia Suite for Two Guitars". While maintaining the blazing energy levels of "Danza" and "Voodoo" in an acoustic format, this song suite shows Al's command of a breadth of styles that is not hinted at on the rest of this disk.

It would have been smart to re-arrange the playing order of the tracks on this CD, and a good slow number (which I'm not normally a big fan of) would have been a welcome addition here. But the playing is superb, and there's plenty of punch in at least four of the six compositions presented. Jazz/fusion guitarists and percussionists will find this one particularly appealing.

I bought Dimeola's Elegant Gypsy album and got it into relatively quickly despite its technicality. With Casino it was much more difficult. I listened to it many, many times and I was convinced that it was a bad album. Then one day I played it again and I finally figured out what the hell he was doing! I guess that I was just in the right frame of mind at the time. The thing is, there was nothing at all wrong with Dimeola as a musician, composer or anything else. I think that the problem was with me. His music got so complex and fasat at times that I just couldn't get it. Even when I did get some parts, it would be followed by a complex segment and I would lose my concentration and it would go right over my head. Maybe its best for some fans not to play Dimeola for long periods of time at a time because it can be too much to take in sometimes.

For the record, I'm not someone unused to complex music. My favourite bands include Yes, ELP, Jethro Tull and so on, so something like Casino should be right up my street. As it turned out, it was and I am glad for it.

As for the tracks themselves, the best were Egyptian Danza (this was the easiest to get into), Fantasia Suite For Two Guitars(the second and third movement are especially excellent) and the title track.

I still don't really like Chasin' The Voodoo, Dark Eye Tango, Senor Mouse much, but maybe with a few more listens?

It is pretty neat to see a musician who, after releasing many albums, produces something that may be his very best, and this after a long career of magnificent music. I wish he had more imitators. This album is so rich that it takes months to explore all of its facets.

In the future, the music on this album will be viewed as world class, and revered, as Miles Davis'; Mozart has competition.

DiMeola is one of those guys who really makes you miss the '70s. This is a good album. He still plays guitar very, very well. But this album lacks the vision, purpose, power, integrity and ingenuity of any of his classic '70s solo albums such as "Casino" or the brilliant (his best) "Elegant Gypsy". And OF COURSE, it doesn't begin to approach the awesome beauty of his work with Chick Corea's '70s fusion band Return to Forever on albums such as "Where Have I Known You Before" or the spectacular, incomparable "Romantic Warrior". It was nice to see some of his old friends like Chick Corea, Steve Gadd and Mingo Lewis join him on this album. Songs tend to be short and choppy. There are some interesting melodies and rhythmic devices, enough to get your attention. But, nothing really grabs you with any profound inspiration. DiMeola used to be filled with profound inspiration. It's a pleasant stab at injecting a dose of old fusion with more modern jazz. There is some pleasant music here, but nothing stands out. Nice album.........but it lacks luster.

The only conclusion I can come to after reading some of the negative reviews of this CD is that people tend to judge too quickly, and don't give the work time to "marinate" in their heads. The bulk of DiMeola's work for about the last 15 years requires (and I think deserves) repeated listening before public review. Even the negative reviews acknowledge that this is an instrumentalist of immense talent, and if there are any shortcomings I think they're primarily due to the understandable challenge of finding the right musical avenues to display it. So many people seem to want Al to relive the Elegant Gypsy days, but as good as that was he's been there, done that--there were no more places to take that style. DiMeola's current "world music" phase includes such highly structured and multi-textured performances that it's impossible to fully appreciate them on one or two listenings, and I speak from experience on this. I have been a fan of his since the RTF days and continued to buy his work, but actually lost interest in it for a number of years after "Kiss My Axe" in 1991. I bought "Orange & Blue", "Infinite Desire" and "Flesh on Flesh", but listened to them only occasionally and superficially until I heard "Orange & Blue" being played during a set break at (of all things) a Marian McPartland concert. I almost had forgotten I owned the CD, and upon my return home began playing it and Al's other later work almost continuously for several months. I then introduced it to a co-worker who was a big Metheny listener (as am I), and the contrast to that style made me appreciate DiMeola all the more--as good as Metheny can be, DiMeola's talent and versatility are second to none, and "Consequence" is a fine example of that. I challenge any guitar aficionado to listen to Tempest, Red Moon, or the subtle power of the solo in San Marco (Moderne) after the chorus and tell me this guy still can't rip it better than anybody.

Notice that the negative reviews of this recording almost all reference comparison to Al's early days, or make superficial Santana comparisons (which I think have only to do with latin tinged/world music and electric guitar--otherwise there's no comparison). This is more complex and interesting music than either Santana or early Al ever dreamed of--it takes a while to fully sink in.

The sticker on the cover of this cd announces its di meola's return to solid body electric guitar. I think this statement led many people think this was going to be Land of the Midnight Sun 2 or Elegant Gypsy 2. It is not and it is not meant to be. This cd is not that sort of electric pyrotechnic showcase, but it is an excellent release - my favorite since Tour de Force. While it has some quieter acoustic moments mixed in, it never dips into "soft jazz" and there is a lot of great electric and accoustic playing here. Red Moon alone would be worth the price, but there are many top notch tunes here and no clunkers. There is no techno synth sounds like Jeff Beck has been doing lately, which is a great relief. This is real guitar playing. Listen to this with the right expectations and I think you will hear a great guitarist, great interplay among outstanding musicians and an excellent recording.

I worship Hendrix, Beck, Page, Metheny, Holdsworth, Vaughan, Howe, you name 'em, I've got 'em. But over 30 years later I'm still amazed at what Mr. DiMeola does on this MASTERPIECE. I HATE awards and awards shows and polls but if I HAD TO CHOOSE(gun to my head) I would pick Al as the greatest ever and present Elegant Gypsy as exhibit # 1.

I first heard this album on vinyl back in the late 70's and it was way ahead of its time then as a fusion jazz gem. It is still a standout album today on CD. All six tracks reflect on the skill and brilliance of each of the musicians. From the outstanding drumming of Steve Gadd to the keyboard mastering of Jan Hammer. Throw in an Al DiMeola and Paco De Lucia accoustic duet and you have on of the best albums ever made of this genre.

Al DiMeola was certainly the Jimi Hendrix of the 70's Jazz Fusion movement. And, this is his best disc from that period. Di Meola's music was also a precursor to the best World and New Age music of the 80s and 90s. Just because Jazz-fusion is out of fashion with the Jazz intelligentsia, doesn't mean DiMeola needs to be discounted. On the contrary, he inspired many to seek a new path for jazz's survival into the late 20th century and beyond. He also helped the uninitiated understand that Jazz is a cross-pollinating "bastard" musical form (in the best sense of the word) that is beyond musical category. I love Dixieland Jazz, Stride, Swing, Bebop, Afro-Cuban Jazz, West Coast Cool, Jazz Funk, 80s Neoclassic, Third Wave, etc, etc. I also love the best of Jazz Fusion. This is it!

One of the great moments in fusion!!! DiMeola is one of the greatest guitarists ever! There is power, intricacy, tremendous writing and impeccable performances by everyone involved. The elegance and class of jazz spiced with a Spanish flavor evoking a Santana-like feel goes even further with the vision of Al and his band members. Jan Hammer (from The Mahavishnu Orchestra and Miami Vice) is the man on keyboards, and he is as exceptional as you would expect. The third song "Mediterranean Sundance" is a Spanish classical guitar duet with virtuoso Paco DeLucia which is a highlight of a beautiful fusion album. DiMeola's power and prowess is at it's best throughout this work. Not a moment is wasted. This album is a masterpiece, and Al's best album without a doubt!!

Al found his stride on this recording, his Spanish roots shine, his guitar playing is astounding. As a guitar player myself, I was very inspired by the whole record.

I worship Hendrix, Beck, Page, Metheny, Holdsworth, Vaughan, Howe, you name 'em, I've got 'em. But over 30 years later I'm still amazed at what Mr. DiMeola does on this MASTERPIECE. I HATE awards and awards shows and polls but if I HAD TO CHOOSE(gun to my head) I would pick Al as the greatest ever and present Elegant Gypsy as exhibit # 1.

I first heard this album on vinyl back in the late 70's and it was way ahead of its time then as a fusion jazz gem. It is still a standout album today on CD. All six tracks reflect on the skill and brilliance of each of the musicians. From the outstanding drumming of Steve Gadd to the keyboard mastering of Jan Hammer. Throw in an Al DiMeola and Paco De Lucia accoustic duet and you have on of the best albums ever made of this genre.

Al DiMeola was certainly the Jimi Hendrix of the 70's Jazz Fusion movement. And, this is his best disc from that period. Di Meola's music was also a precursor to the best World and New Age music of the 80s and 90s. Just because Jazz-fusion is out of fashion with the Jazz intelligentsia, doesn't mean DiMeola needs to be discounted. On the contrary, he inspired many to seek a new path for jazz's survival into the late 20th century and beyond. He also helped the uninitiated understand that Jazz is a cross-pollinating "bastard" musical form (in the best sense of the word) that is beyond musical category. I love Dixieland Jazz, Stride, Swing, Bebop, Afro-Cuban Jazz, West Coast Cool, Jazz Funk, 80s Neoclassic, Third Wave, etc, etc. I also love the best of Jazz Fusion. This is it!

One of the great moments in fusion!!! DiMeola is one of the greatest guitarists ever! There is power, intricacy, tremendous writing and impeccable performances by everyone involved. The elegance and class of jazz spiced with a Spanish flavor evoking a Santana-like feel goes even further with the vision of Al and his band members. Jan Hammer (from The Mahavishnu Orchestra and Miami Vice) is the man on keyboards, and he is as exceptional as you would expect. The third song "Mediterranean Sundance" is a Spanish classical guitar duet with virtuoso Paco DeLucia which is a highlight of a beautiful fusion album. DiMeola's power and prowess is at it's best throughout this work. Not a moment is wasted. This album is a masterpiece, and Al's best album without a doubt!!

Al found his stride on this recording, his Spanish roots shine, his guitar playing is astounding. As a guitar player myself, I was very inspired by the whole record.

I first encountered Al Di Meola as the lightning-fingered guitarist for the fusion group Return to Forever and later on solo albums like ELEGANT GYPSY and SPLENDIDO HOTEL. But on WINTER NIGHTS, he is in a more subdued mood. Many of the tracks feature Ukrainian musician Roman Hrynkiv on bandura, a folk instrument similar to a lute. The two perform together to marvelous effect like on the Di Meola original "Zima" and the more traditional "The First Noel." In addition, Hrynkiv plays solo on several shorter pieces ("Winterlude No. 2, 3 and 4"). With only a scattering of recognizable Christmas songs, you can enjoy this album year 'round. [Running Time - 51:25] HIGHLY RECOMMENDED

What a challenge ? Conceptualize the beauty and spirit of cold winter nights. Well to my ear, these instrumental interpretations distill that chill in the air and render a meaning from the twinkling stars.Eight songs are original, five imaginary revisions of seasonal standards, and two inclusions of popular pop tunes stripped of vocals yet bellowing like the changing wind. The talented trio of artists creative echoing of a fresh blanket of snow and the darkness of night upon melody, their quite complexity between percussion and other playables,and their use of todays mixing techno all combine to answer. .... Post Script~ Great background seasonal drumel and even better headphone dozing.buyit...save it...

I bought this CD after hearing a Christmas track played over the radio. It is absolutely fabulous. Winter nights includes some seasonal tracks as well as eclectic choices - the arrangements are wonderful. Check out his version of the beautiful Peter Gabriel ballad "Mercy Street ". Done as an instrumental in Dimeolas style it fits perfectly with the winter theme of this CD. Don't just save it for the holidays - select the great non seasonal tracks for any gathering.

What!! A Christmas album by DiMeola!!

I must admit I was a bit sceptical at first because so many Jazz/Fusion artist have made overly sweet and sentimental Christmas albums, but of course I shouldn't have doupted the master, this album is really good.

Al playes acoustic guitars on the album along with percussion, keyboards and a multi string harp Herman Romero plays additional guitar and percussion and then there is a player from Ukraine, Roman Hrynkiv who playes an ukrainian instrument called Bandura which is a plucked string instrument with a bright sound which fits this music wery well.

The music is a mix of well known Christmas songs and new compositions by DiMeola, there is of course a Christmas feel to the album but it's all in great taste and underneath the calm surface Al is burning.

I'm going to give the c.d a rest for now but come December this c.d. is going to be played a lot. This Christmas is definitely going to be fun, musicaly speaking at least.

I just purchased Splendido Hotel for $9.99 new! Years ago, I had the album on wax, but never did give it a good listen. I put the CD in my PC (at work, no less), and gave it a good listen. My conclusion? This album has something for everyone. Gang, it's not as bad as some of the reviewers have said. I actually like "I can tell" where Al sings (he sounds okay...), I like the music better (of course!). Get yourself an inexpensive copy and enjoy! Four stars...why?..."Elegant Gypsy" is head and shoulders over "Splendido Hotel!" That's why!!

When this sprawling magnesium opus was first unleashed circa 1979, I approached it with some trepidation, unfortunately, that trepidation proved very well founded. Simply put, this was one of the most ponderous, pretentious, egocentric and overblown things I ever heard in my life! And this coming from a person who LOVES good fusion, progressive rock and adventurous music in general! Albums like this were what gave fusion a bad name in some people's minds towards the end of the 70's.

From the rather excessive fussed-with music-math to the equally ridiculous and over-long "Thank You" section in the liner notes (he stops just barely short of thanking the trees for producing the paper that this was printed on and the rubber plants for the vynil et al), it's painfully clear that Al DiMeola wants you to pay attention to him and fall down and worship him wether he actually has something to say or not. Is there no end to this man's ego and overblown self-importance?

The music? On the whole, it seems Big Al is trying to cover a wide variety of bases, some of his own choosing, and one OBVIOUSLY of the record company's ill-conceived marketing tragedy (yes, it's a deliberate substitution on my part for the word "strategy"), "I Can Tell", a soulless pseudo-soul tune on which Big Al proves to the world at large that William Shatner can outsing him (at least Shatner was FUNNY and ENTERTAINING!). The only humor comes on the fadeout when Al smashes an exaspirated power-chord as if to say, "Can you please shoot me now?". There's a pleasnat enough duet with Les Paul ("Spanish Eyes"), a bizarre post-disco dance tune called "Roller Jubilee" and the usual pseudo-flamenco workouts, nothing really new otherwise.

Elsewhere, it's pretty much a repeat of previous Al D outings, very calculated, mathematical textbook exercises lacking in any real soul or passion, long on excessive speed guitar wankery and arbitrary start-stop stuff but VERY short on real musical substance. Even Chick Corea's "Isfhan" fails to spark any interest, attempting to conjure up sonic images of ancient Persia and all.

Big Al D is, if nothing else an accomplished TECHNICIAN, but as far as being able to play musically and with real soul, he falls far short of his comtemporaries like John McLaughlin (who has a FRIGHTENING amount of musical depth), Allan Holdsworth, Larry Coryell, Philip Catherine and Pat Metheny among others.

Want fusion with REAL musical substance? Look elsewhere.

Great cd for those who lige the early works. It truly jams. Great melodies and very tight. I hate all the new DiMeola dreamy stuff so take it for what it's worth.

Please, if you get this CD skip over tracks 3 and 8... they are certainly the most annoying tracks ever on an Al CD.

The rest of it is great though...

These musicians can play better with their eyes closed with their hands tied behind their backs while doing headstands under water than can most musicians you hear today. Anthony Jackson is a really tight player -- check out his playing on the tracks "Al Di's Dream Theme," "Dinner of the Gods"; the drummers are top notch as well.

And this being my first time hearing Di Meola's playing, it was a treat to hear smooth jazz, latin, and Middle Eastern tunes all fused into one very tight mixture. (I guess that's why they call it "fusion!")

Di Meola is oh so talented. Other standout tunes include the piano and guitar duet "Two to Tango" and the awesome chops-heavy progressive piece called "Alien Chase on Arabian Desert," both songs being excellent compositions.

I give this a 4 because of the "disco" tinged songs like "Roller Jubilee," which should be skipped no matter what, and a song where Al sings, called "I Can Tell." But other than the disco element, this album showcases some very honorable music and tight musicianship.

Apologies for using the word "tight" so much. You'd have to hear it to understand. =)

I love this album. Even after all these years I still like to toggle it up on my iPod and indulge myself in some of the best guitar available on record.

Like a fair number of Al recordings, this one required a few "training runs" for me - it's not accessible on the first or second listening. The music doesn't always go where I expected it to go the first time I listened.

Once trained, I found I craved this album at times when the music fit with what was going on in and around me. It's a definite "must have" for fans of Al Dimeola electric guitar, and the beginning of the trend toward other forms that he would explore in the years that followed the release of this album.

the real question is not why "a musician has to resort to a cheesy soft-porn cover to get people to buy their album" but why does someone of Mr. DiMeola's obvious talents have to practically beg record companies to pay attention to him? Is it because he plays a real instrument and doesn't go on stage with 10 dancers doing their overly choreographed and tired moves? Is it because he employs a talented drummer like Omar Hakim and doesn't resort to sampled and/or looped drum tracks? Is it because record companies think all the world needs are 3 minute pop tunes you can dance to, regardless of how mindless they are? That a musician of DiMeola's talents had such a difficult time says more about how clueless and outright stupid so many record execs really are. If I had a record label and Al came to me signing him would be a no-brainer. Yeah, but what do I know?!
Just get this already!
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al dimeola's return to the electric guitar,is a bit of a dissapointment.the sound,is a bit scaled down,and contrived.it lacks the passion and fire of his earlier efforts, such as elegant gypsy,or casino.but there are some good things on this cd,that are shades of the old al dimeola.that are noteworthy selections to listen to,but overall,it's definately not his best effort.

A fantastic offering by Al Dimeola.
This recording was voted Best Jazz Guitar Album by Guitar Player Magazine in 1992.
A complex and diverse album that intrigues and delights with every listen.

Every time I put this on i'm taken back to road trips i took from Northern California down thru Death Valley and into Arizona. I played it over and over.

Al Dimeola is a true master. He stretches the boundaries from fusion to classical to world music. he takes chances and is not afraid to follow his heart. We should all be so lucky.

While I too think Elegant Gypsy is Al's finest moment, his other work has always been a musical pleasure. His Winter Nights is simply superb. Electric Rendezvous short but sweet! Casino is as close to Gypsy as can be. Kiss My Axe is also worth the money and your time to give it a listen. If you like a variety of styles intermingled - here's the happy meal! Blazing guitar, gut wrenching bass on some of the tunes. Light and airy on others.

In following Mr. Dimeola's career, there seems to be a maturity in his work-While Gypsy is a simply a marvel in its blazing guitar work - each piece is technical bliss and speed! The works thereafter have been all about change -evolution if you will. The man still has the chops, but it's tempered and controlled. Youth to experience is the best analogy I can make here. It is obvious that he wants to stretch his music in other styles - not specifically jazz fusion.

I will continue to purchase his work simply because it has never failed to entertain me. Mr. Dimeola is simply one of the best of the best. One other reviewer wrote something to the effect "surely the Master knows more than his admirers!" I think there is a grain of truth in that remark. Each work that this man has done has been a step in his musical journey-I, for one, am glad he's allowed me the opportunity to walk with him along the way.

I really enjoyed the music on this CD. Truly HeavyWeights, great music for a long drive, but why is this CD now $25 Bucks ???

In an era where musicians are constantly exploring new avenues for ways of marketing themselves, it's no surprise to find three high-profile players like Stanley Clarke, Al Di Meola and Jean-Luc Ponty joining together to furnish some fresh sounds as well as revisiting some of their familiar individual works as a "bass-ically" acoustic trio on the 'Rite Of Strings' CD. I wasn't even aware of this disc's initial release when it came out in 1995 - I just happened to be listening to my car radio while driving home from work and caught an on-the-air local broadcast of the afternoon soundcheck going on before a live appearance the group made at the UCLA campus that kicked off the promotional tour for the CD. I sat in my driveway for almost fifteen minutes listening as they ran down two entire selections from the disc on the air; then immediately drove to a nearby record store and purchased the CD! All three musicians made their mark during the Miles Davis-initiated fusion period when electrically-amplified instruments became fully integrated into the jazz scene. Purists and die-hard fans were 'up in arms' for quite a while since jazz was pretty much an acoustic instrument domain for nearly every sound with the exception of electric organ or amplified guitar(and even then, the boost in volume was only so that the instrument could be heard in relative balance with the other parts of a combo or orchestra). However, when rock music started becoming the new dominant force in popular/commercial music, Miles 'threw the gauntlet down' and suddenly a whole new avenue of sounds, expression and articulation exploded onto the music scene. People either loved the new sound or hated it, crying "sell-out"; but a whole new breed of musician came into focus - one who had virtuoso musical abilities or 'chops' - yet could still easily blend into a pop/rock style setting if called upon to do so. And now it's common today for jazz-based musicians to work across the board with pop and rock artists and classical musicians as well. And for my own ears, some of their best work has been instances such as this, where the acoustic sounds were put back to the fore and you get to really hear the players' expressive capabilites without the overriding volume. I was fortunate enough to catch one of their rare live performances on the second 'Rite Of Strings' tour a couple of years ago when they played at UCLA again(wished I hadn't missed the first one). But you can now also purchase a live performance video of that first 1995 production; which I highly recommend if this style of instrumental music is one of your favorite 'flavas'. There's not a bad note to be found anywhere on the audio disc or the concert video and it surprisingly suits various moods, not just requiring intense listening or concentration. I found this CD good to 'wind down' with after a busy day at work or play and confirmed fans of all three artists won't want to miss out on having this in their music libraries. And, by all means, make it a point to catch one of their live shows if they happen to play in your area - those are once-in-a-lifetime, all-star presentations not to be missed(especially since life's uncertainties can suddenly rob us of great virtuoso talents unexpectedly). This disc was out-of-print for a while after the first limited run in 1995, but has come around again for the benefit of those who missed it the first time out. So, grab it while it's available again and enjoy!

Last time I saw Jean-Luc Ponty in Mexico City it was an unique concert for me. JLP came here to Mexico City to promote "The Rite of Strings" album along with Al DiMeola and Stanley Clarke. A local FM radio station named "RadioActivo 98.5" was asking for the complete JLP discography for 2 free tickets and I won them for the show on September 23, 1995 at the Auditorio Nacional concert hall with preferred seats very close to the stage.

At the end of the concert Al DiMeola asked the public to get closer to the stage. I was in front of him and I asked him to autograph my "Rite of Strings" CD. I was looking for JLP autograph too but he was at the other side of the stage. Too sad :-(

This is one of my all time favorite CDs.

Eduardo Nava, Mexico City.

Disculpen que sea en castellano pero no puedo evitar ser argentino y tampoco lo evitaría. El cd fue pedido después de haberlo escuchado casualmente en un taxi. Quedé enamorado del mismo y no habiéndolo encontrado en las disquerías de Buenos Aires, decidí adquirirlo a mis amigos de AMAZON. Solo un poco de paciencia hasta recibirlo en mi domicilio más que compensada por el goce de escuchar completo este maravilloso cd.
Gracias y
saludos

Words are absolutely unnecessary, here. Just sit in front of your speakers and let these three masters guide you through a territory of continuous discoveries. Their interplay and exchange of moods and ideas is simply undescribable. Chapeau.