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Satisfying the heart and mind | Al di Meola

Hours before he took the stage at this year’s Malta Jazz Festival, Al Di Meola sat down for a chat with us, and the New York-born jazz superstar had plenty to say on both his own development as an artist and the state of music right now. - Teodor Reljic

The trouble with jazz

"Broadly speaking, jazz is a very 'intellectual' kind of music. And partly because of that, I think that there tend to be more problems with jazz than there are positives. Lots of jazz musicians tend to forget about their audience, or rather lose their interest fairly quickly. The emphasis on improvisation, for example, unfortunately sometimes comes at the expense of composition. A very long jazz solo could go by so by the time it's finished, you catch yourself gasping for relief as you're clapping. That's not to say it wasn't technically admirable... but by sacrificing composition and harmony, you can lose your audience."

The Latin influence

"I was always surrounded by Latin influences, all the way back to my teenage years. There were a lot of Latin clubs around when I was growing up in New York, and that's how I slowly began to cultivate an interest in the rhythmic aspect of the music, and how it could lend a very earthy, emotional feel to the jazz sound. Then I also developed an interest in ethnic, Middle Eastern music. But it was the tango style Astor Piazzola who turned out to be the strongest influence of all.

"He enlightened me to the fact that yes, you can have complex, intellectual arrangements - like a lot of jazz tends to be, for better or worse - while still crafting songs that'll hit people in the heart.

"So after many years of working within electric fusion I realised that this was the new path I wanted to take. Not that I shunned the previous style completely - who knows, I might even return to it some day - but I wanted more than anything to pursue this style which I would call, for lack of a better word, a more 'sentimental' style, which would give you a wide range of emotions while still being complex and interesting from a technical standpoint.

"When I decided to work in this genre, my American fans were like "wow, what's this foreign music?" It seemed exotic to them, when in fact it had been developing in Europe for a very long time. For this reason, I see myself as a bit of a 'strange American' - I feel more attuned to the European musical milieu in this respect. The thing with Americans is that we still seem to want to be hit over the head with loud sounds... and I'm not into that at the moment, though I might return to it some day."

On winning awards

"I don't really feel any pressure after I win awards, though I definitely feel honoured, and of course it comes with a certain degree of satisfaction. But I don't think any musician worth their salt would look at awards as some kind of be-all-and-end-all. I think I speak for all musicians when I say that, by and large, we never really feel like we've done enough. No matter how many awards you get, you're always going to be learning: it might take you four or five entire lifetimes to learn all there is to learn about your instrument.

"Besides, there are bigger challenges in life. The award I really want to get is the award for being a good person, but sadly I don't think they give those out officially... though my daughter gives me that award sometimes, it comes in the form of a kiss."

The state of popular music

"Oh, I'm the wrong person to ask about contemporary pop music. I'm a real critical opponent to that world. Justin Bieber? He makes music for kids. If I was kid I'd probably like him. No wait, I wouldn't - I had great taste when I was a kid! I was into The Beatles and The Rolling Stones. And the funny thing is, all of the kids from my generation who grew up with that music loved it then, and we still love it now. But I don't think the kids growing up listening to the stuff that's in the charts right now would be able to say the same thing a few years down the line. There's no harmony in the music, the melodies are awful, none of them can sing (except for Lady Gaga, she has a lovely voice...)

"I think what ruined popular music is an emphasis on social commentary, on words - and especially ghetto poetry - taking over the value of harmony. And harmony is the key ingredient of any good music. The Beatles certainly weren't jazz musicians, and there's nothing 'intellectual' about their compositions. But their music has great, great harmony.

"Today's pop music just seems to be geared to making your head bob up and down, or to make you move to it, and that's it. But there's nothing special about that. You could move to the sounds of a jack hammer if you wanted to."

http://www.maltatoday.com.mt/en/magazinedetails/magazine/music/Satisfying-the-heart-and-mind-Al-di-Meola-20120801

Di Meola’s rhythmically-charged flamenco

Following the much ballyhooed Return To Forever reunion tour of 2008, guitarist Al Di Meola began refocusing his energies on his World Sinfonia band. Live in Seattle and Elsewhere documented his tightly-knit chemistry in concert on a 2009 tour with his acoustic ensemble of accordionist Fausto Beccalossi, second guitarist Kevin Seddiki, bassist Victor Miranda, drummer Peter Kazsas and Di Meola’s longtime collaborator Gumbi Ortiz on cajon and assorted hand percussion.

Di Meola’s rhythmically-charged flamenco and tango inspired originals revealed his knack for advanced harmonies along with his embracing of simple, beautiful, alluring melodies. And although he may be a romantic at heart, he showed that he is still very much capable of flashing those legendary chops that graced his ‘70s classics like Elegant Gypsy and Casino.

On Di Meola’s latest outing, Pursuit ofRadical Rhapsody, set for March 15, 2011 release on Telarc, a division of Concord Music Group, the guitar virtuoso and world music pioneer deals in more evocative and compelling sounds with his World Sinfonia ensemble, delivering hauntingly beautiful and deeply moving music from track to track. 

The collection kicks off with the entrancing, suite-like “Siberiana,” which opens with some tender call-and-response between Beccalossi’s accordion and Di Meola’s nylon string acoustic guitar before building to a turbulent section with searing electric guitar lines on top. On the affecting “Paramour’s Lullaby,” Di Meola takes a more deliberate approach on electric guitar, spinning warm, lyrical lines over the beautiful harmonies before engaging in spirited call-and-response with Beccalossi near the end of the piece. The rhythmically charged “Mawazine” (featuring percussionist Mino Cinelu) is broken up into two parts on the album and showcases some typically tasty electric guitar work by the leader.

The lushly cinematic “Michelangelo’s 7thChild” (featuring Hungary’s Sturcz String Quartet) has Di Meola utilizing subtle MIDI textures and colorations on his acoustic guitar while also showcasing some virtuosic runs. “Gumbiero” is a stirring Latin number underscored by Ortiz’s churning conga work. Sparks fly between Di Meola’s signature fretboard bravado on both acoustic and electric, Beccalossi’s facile accordion playing and Gonzalo Rubalcaba’s dazzling piano work on this spirited offering.

“Full Frontal Contrapuntal” features some chops-busting unisons and intricate exchanges between Al’s MIDI-tinged acoustic guitar and Beccalossi’s accordion. The surging “This Way Before” and the evocative, flamenco inspired “Fireflies” both feature Di Meola alternating between acoustic and distortion-laced electric guitar licks.

The stirring Latin flavored “Destination Gonzalo” and “Radical Rhapsody” both feature virtuosic contributions from pianist Rubalcaba and former Weather Report drummer Peter Erskine. The poignant “Bona” is a tender offering with the Sturcz String Quartet that features some of Di Meola’s most lyrical playing on the record. The leader also turns in soothing interpretations of two classic pop tunes, the Beatles’ “Strawberry Fields” and “Somewhere Over the Rainbow,” both of which feature the great jazz bassist Charlie Haden.

Al Di Meola – guitar, Fausto Beccalossi – accordion, Peo Alfonsi or Kevin Seddiki – 2^nd guitar, Peter Kaszas – drums/percussion
Wed 16th & Thur 17th: 

1st Show: Doors 5.30pm, Onstage: 7.30pm. 
2nd Show: Doors: 9.30pm, Onstage: 10.30pm

Friday 18th:
1st show: Doors 6pm, Onstage 8.30pm
2nd show: Doors 10.30pm, Onstage 11.15pm
Read more on: http://www.ronniescotts.co.uk/performances/view/810-al-di-meola-world-sinfonia

Guitar Great Al Di Meola

GUITAR GREAT AL DI MEOLA TO RELEASE

NEW WORKS WITH HIS WORLD SINFONIA BAND

Pursuit of Radical Rhapsody set for March 15, 2011

Following the much ballyhooed Return To Forever reunion tour of 2008, guitarist Al Di Meola began refocusing his energies on his World Sinfonia band. Live in Seattle and Elsewhere documented his tightly-knit chemistry in concert on a 2009 tour with his acoustic ensemble of accordianist Fausto Beccalossi, second guitarist Kevin Seddiki, bassist Victor Miranda, drummer Peter Kazsas and Di Meola’s longtime collaborator Gumbi Ortiz on cajon and assorted hand percussion.

Di Meola’s rhythmically-charged flamenco and tango inspired originals revealed his knack for advanced harmonies along with his embracing of simple, beautiful, alluring melodies. And although he may be a romantic at heart, he showed that he is still very much capable of flashing those legendary chops that graced his ‘70s classics like Elegant Gypsy and Casino.

On Di Meola’s latest outing, Pursuit of Radical Rhapsody, set for March 15, 2011 release on Telarc, a division of Concord Music Group, the guitar virtuoso and world music pioneer deals in more evocative and compelling sounds with his World Sinfonia ensemble, delivering hauntingly beautiful and deeply moving music from track to track. The collection kicks off with the entrancing, suite-like “Siberiana,” which opens with some tender call-and-response between Beccalossi’s accordian and Di Meola’s nylon string acoustic guitar before building to a turbulent section with searing electric guitar lines on top.

On the affecting “Paramour’s Lullaby,” Di Meola takes a more deliberate approach on electric guitar, spinning warm, lyrical lines over the beautiful harmonies before engaging in spirited call-and-response with Beccalossi near the end of the piece.  The rhythmically charged “Mawazine” (featuring percussionist Mino Cinelu) is broken up into two parts on the album and showcases some typically tasty electric guitar work by the leader.

The lushly cinematic “Michelangelo’s 7^th Child” (featuring Hungary’s Sturcz String Quartet) has Di Meola utilizing subtle MIDI textures and colorations on his acoustic guitar while also showcasing some virtuosic runs. “Gumbiero” is a stirring Latin number underscored by Ortiz’s churning conga work. Sparks fly between Di Meola’s signature fretboard bravado on both acoustic and electric, Beccalossi’s facile accordion playing and Gonzalo Rubalcaba’s dazzling piano work on this spirited offering.

“Full Frontal Contrapuntal” features some chops-busting unisons and intricate exchanges between Al’s MIDI-tinged acoustic guitar and Beccalossi’s accordian. The surging “This Way Before” and the evocative, flamenco inspired “Fireflies” both feature Di Meola alternating between acoustic and distortion-laced electric guitar licks. The stirring Latin flavored “Destination Gonzalo” and “Radical Rhapsody” both feature virtuosic contributions from pianist Rubalcaba and former Weather Report drummer Peter Erskine.

The poignant “Bona” is a tender offering with the Sturcz String Quartet that features some of Di Meola’s most lyrical playing on the record. The leader also turns in soothing interpretations of two classic pop tunes, the Beatles’ “Strawberry Fields” and “Somewhere Over the Rainbow,” both of which feature the great jazz bassist Charlie Haden.

For more information, please contact:

Mike Wilpizeski Mike.Wilpizeski@concordmusicgroup.com

Al Di Meola Brings the "World" On Tour

Guitarist Al Di Meola will launch a national tour and release a new album in early 2009 with his new project, Al Di Meola and World Sinfonia. Joining a handpicked group of master musicians for both the tour and album, Di Meola makes a surprising turn into the romantic, producing a collection of moving tango-flavored melodies. Their work is on display on La Melodia Live In Milano, available Jan. 8, 2009.
"Although the tango developed in Argentina, it was born in the region of Italy where my parents are from, Napoli," Di Meola said. "This music connects to my roots. As long as I'm playing music, it will be part of my repertoire."
http://www.downbeat.com/default.asp?sect=news&subsect=news_detail&nid=1307