Al DiMeola In Extremely Fine Form
591215
Actually the early 80's seemed to be a continuation of a very successful creative,critically and commercially successful run for Al DiMeola. His first album of the decade&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Splendido-Hotel/dp/B0012GN3FK/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Splendido Hotel</a>&nbsp;showcased him veering into some slightly more rock/soul shadings in his music,including a vocal number. On this occasion he teams up with...well the same group he's had since his solo career began in the mid 70's. On this album however he collaborated with fusion keyboardist Jan Hammer. Hammer was a pioneer of a portable synthesizer probe that sounded even more like a rock guitar than even an ARP. He'd really helped bring the idea of the "keytar synthesizer hero",as it were into fusion and bought that sensibility to his own Jan Hammer Group as well as to the pioneering albums by Jeff Beck around this time as well as Journey/Santana guitar hero Neal Schon. It would be the collaborations between DiMeola and Hammer that would be big selling points here.

  In the end this the Al DiMeola album that really looks to the rockier end of jazz/rock fusion. The music is full of hard rhythms and thudding instrumental parts. But it's not heavy metal or anything,despite the "electrified panther" on the cover. "God Bird Change","Crusin" and "Back Seat Shuffle" all make the most use of Hammer's presence here and he brings his own touches to these tunes where he and Al actually shine as very much equal partners. Sort of like a musical superhero duo of the fusion world. The title song,"Ritmo De La Noche" and "Jewel Inside My Dream" feature somewhat more of the nuanced compositional and instrumental grace of some of his earlier solo numbers. Though the edgier fire still makes itself present at times. One of the strongest numbers on that end actually winds up being the least typical of this album and that's the acoustic "Passion,Grace & Fire". It's another of Al's flamenco/gypsy inspired guitar solo pieces where he not only really gives his chops a workout but invents almost endless melodic variations. It's a very elastic song. The type you can do a lot with it,either live or in an interpretation.

  By effectively blending his abilities as a melodic inventor and one of the most fluid and theatrical players around,bringing Jan Hammer along for the ride for this album was one of the best decisions Al DiMeola could've possibly made. As with the majority of his albums,this is rather short in length. But you won't come out feeling disappointed. As the 1980's went on Al's music would take the whole world fusion sound he'd been innovating since the beginning more into his orbit and put jazz/rock to rest somewhat. But for at least this point and a couple years after he wasn't quite ready to leave that behind. And he also had a few more ideas up his sleeve to boot in that area. But as for this it's eight spirited,energetic songs that are a must for fans of fusion,Al DiMeola or Jan Hammer.
4159991
What happened to DG in the 60's? This recording, made in the '50s, along with others such as the Fricsay New World/Moldau is incredibly life-like, with just a hint of digital glare, amazingly transparent, and with terrific bottom end. It is doubly sad in contrast therefore, to have to listen to many of DGs screechingly bright '60s travesties. As others have pointed out, the young Maazel was a very gifted conductor, and there is a natural, spontaneous quality to these versions that are a contrast to some of his later work. Though not "the" BRSO (the Bavarian Radio Symphony Orchestra), these Berliners play very well-some commentators mention that, in general, radio symphony orchestras had to be incredibly precise, as they perform live and are heard by vast audiences, and Maazel molds them beautifully. I am not a passionate lover of the slighter, but pleasant Falla music, so, for me, the highlight is actually the Firebird. Though the sound here is a little brighter there is also a wonderful hall ambiance. Maazel drives the players to wonderful effect.
1680193
My favorite Al Jarreau to date. Maybe my favorite cd of all. He sounds better than ever, and the Metropole Orkest is magnificent. I'd heard a lot of the tunes before with different musical configurations, but  Vince Mendoza's arrangements and the way they were executed by the Orkest set a whole new level.  The arrangements should be studied by anyone who has aspirations of being an arranger. This is a work that one can listen to over and over and hear new delightful elements each time. I've given two of them to musical friends as gifts.
2014238
Full disclosure: I am a friend of the artist.  But see for yourself how lovely the tunes are on this finely wrought CD.  The overall quality of the musicians and the arrangements is stellar, and the diverse sounds are unified by the incredible speed, rich timbre, and fluidity of Rollins's guitar playing.  The haunting title track is destined to be a classic, and I am also partial to the Arabic flavor of New World Raga, but the whole CD is a joy to the ears!
1725
There's so much I could write about this unf**kingbelievable, diverse, original, and goodie-packed record. I'm hoping that one of you Wilco fans happened to fall upon this Amazon page when looking up Wilco guitarist Nels Cline. Folks, Nels and Carla are so musically intelligent and so full of emotion, and when they compose music together, there is no better pair of musically-inclined (no pun intended) adults.  Carla is most famously known for her band The Geraldine Fibbers, which, in many ways, is a better listen than Scarnella, but when it comes down to it, Scarnella's only studio album is much more of a masterpiece than the two Fibbers records.  There is so much going on here musically that it's impossible to believe Carla/Nels when they says this album only took a week to come up with.  Every song on this album has so much to it that each can be isolated and studied for a Master's thesis.

Even though Carla's voice reaches pure bliss on this album much more than once, my favorite track is the instrumental entitled "Improvisation #1", and when you hear it, you'll very much realize there's no f**king way this was an improv. No way.

Support Carla's music career. And tell Nels to start making music with her again, even if it means he drops Wilco.
1665007
The coming together of ace arranger and conductor Vince Mendoza with rising alto saxman Stephano di Battista here produces a kind of small miracle.  It's very difficult to make this kind of session work.  The challenge is to retain the rigor of jazz while adding the lush gorgeousness of sumptuous strings.  Sloppy, maudlin sentimentality too often results.

Not here.

Mendoza brilliantly solves the aural puzzle, and the result is an altogether ravishingly beautiful sonic excursion that displays sufficient jazz sensibilities and rigor to satisfy the most nit-picky critic while at the same time exhibiting sheer aural ravishment.

Quite an accomplishment, and one hardly ever achieved in the jazz-with-strings arena.

If there is any analog, it strikes me that Fellini Jazz by Enrico Pieranunzi might be it.  Both discs share an aural extravagance seldom encountered in the world of jazz.  And both manage to retain enough jazz firmness to avoid the Scylla of sentimentality while also skirting the Charybdis of empty charism.

The beauty of Italian jazz fully on display.  Absolutely worth hearing.
1019360
I never get tired of listening to this cd.  I put it on my iPod and listened to it everyday for a month straight before I finally switched my playlist.  It's THAT good.  Al di Meola is an amazing musician.
4157781
All I can say is that Al Stewart deserves every accolade that comes his way. He continues to provide his fans with nuggets and gems to enjoy. This CD is nothing less than what you can expect from an Al Stewart release. I have only listened a couple times so far and am struck by how effortlessly the songs sound and what a pleasure they are to listen to.
I hope we have a chance to see AL perform these and other songs with a full band.....check out the Boston Symphony Orchestra series AL.
Run, don't walk, to get this masterpiece.
71239
That Yo-Yo Ma is one of the more important cellists playing today would be an understatement. Not only is he a brilliant musician, an impeccable musicologist, and an empathetic performer who has a devoted following, he also stretches his musical borders to include projects like the Silk Road Project.  Here he approaches the music of the gifted film composer Ennio Morricone and together they have produced and album of some of the finest music written for film.  Yo-Yo Ma at times embellishes these works, at times takes the lead voice of the melodic line and at times he simply blends into the score.

Ennio Morricone conducts the Roma Sinfonietta Orchestra and with Ma as featured artist the album opens with the famous theme from 'THE MISSION' entitled 'Gabriel's Oboe', and true to Ma's style he does not take the melody away form the oboe he instead provides embellishment.  Also from this film is 'The Falls'.  The other works on this recording include the following:
THE GUISEPPE TORNATORE SUITE ('The Legend of 1900', 'Cinema Paradiso', 'Malena' and 'A Pure Formality'); THE SERGIO LEONE SUITE ('Once Upon a Time in America', 'Once Upon a Time in the West', 'The Good, The Bad and The Ugly'); THE BRIAN DE PALMA SUITE ('Casualties of War', 'The Untouchables'); MOSES and MARCO POLO SUITES; and  THE LADY CALIPH SUITE.

In every way the music works well. This is a fine example of film music written and performed beautifully.  Grady Harp, January 11
586576
Al has produced some of the finest music I have ever listened to, and with this latest offering from the World Sinfonia group, there is a maturity to the compositions which is mesmerizing. The players, all master musicians in their own right, including the amazing Hernan Romero and Mario Parmisano, add an almost 3-dimensional feel to the whole CD, and the orchestral arrangements, penned by Al & Mario have thrown a whole new light on things... Truly one of the most beautiful pieces of music you will ever hear..... I was lucky enough to see some of these songs performed in New York's Blue Note back in March this year...and the recording has captured the intimate feel of the live performance with grace and precision.....
2496846
Low price usually means inferior quality, but this case is a gross exception to the rule.  Expecting a mediocre ear-tickling. I was utterly blown away by the first minute.  They say that lowered expectations allow for pleasent surprises, but even critically speaking this album is on the level.  The pieces are performed in very good taste (though one might be a bit distracted by the pronounced vibrato in the soprano), and for the price asked, it's a sin not to enjoy this introduction to the Italian Madrigal.
La Venexiana deserve to be heard, highly recommended (even if it is a bit silly to recommend a $4 CD).
4881809
Armando Morabito is bringing something bigger than just great music to the table.  His composing style and finesse takes on a near-ethereal quality with this album and given the wide range of quality in relation to productions from this particular genre; it's refreshing to hear someone at the top of their game and clearly here to stay.
1610706
I'm pretty much in full agreement with the pair of reviewers who preceded me here. This is a fine cross-section of Mancini music for film and television, including themes from Mr. Luck, Peter Gunn, Hatari, The Pink Panther and Breakfast at Tiffany's, plus several more. Many of the selections -- Moon River and Charade, for example -- are of course songs, and they are rendered not purely instrumentally but with the addition of the Henry Mancini Chorus. For me the best track is the Arctic Whale Hunt from The White Dawn; it's four minutes of stirring delight. As one would expect, the Cincinnati Pops under the (sadly now departed) Erich Kunzel provide skilled and shining performances from start to finish. Recommended.
1310281
That is what many people call this phenomenal singer, and dynamic he is. There have not been too many non-operatic singers with the power and huge range of Jimmy Roselli, and the selections on this CD show the full extent of his voice, which is unique in sound and style.
The songs:
"Passione" is my top choice of the selections gathered here. The intro alone would make this a 5 star CD; it is a great performance with emotion pouring forth in every phrase of this Italian favorite.
"Mala Femmena" is a signature song for Jimmy, and it is a winner.
"The Sheik of Araby" is a fun song, and somewhat reminiscent of Bobby Darin's version of "Mack the Knife".
"I Get the Blues When it Rains" is a big band show stopper, and one where I marvel at Jimmy's breath control.
"(Just) the Way You Look Tonight" would be my least favorite track, even though it is still a marvelous song, because of the tight rhythmic pattern, which seems to rein in some of the usual effluent Roselli passion.
There are no liner notes enclosed, the sound is fine, and the total time is an all-too-short 34'42, so it usually gets at least three consecutive plays once it hits my CD player.
Now at the ripe age of 77, Roselli has had a full life, with throngs of devoted fans, and though there are many reasons why he did not achieve the world-wide fame many felt he deserved, his voice isn't one of them. Listen and believe !
1382265
Bartolleti leads a workman-like orchestral performance, while Carlyle does a good job as Nedda, Canio's treacherous little wife. The reason I had for getting this set can be summed up in two voices: Jon Vickers and Cornell MacNeil.
MacNeil's vocal acting here makes liars out of those who say he can't color his voice. I cannot comment on his physical performance of the role of Tonio, but his vocal performance rivals both Leonard Warren and Titta Ruffo... and that is a high compliment, believe me. He's into his part far more than the conductor and the orchestra are into their's, and the results are electrifying. Few baritones had more thrilling high notes, and MacNeil was in good voice that day.
Jon Vickers was a tidal wave of emotion in this role of the cuckolded husband, and the intensity of his singing matches Franco Corelli in the classic recording under Matacic. This is a performance to savor, with a richness of characterization that is ultimately satisfying. For the first time, a modern tenor brought a greater wave of appreciation than even the classic Enrico Caruso performance from 1907. This man Canio was in love, in anguish, and was overpowered by a towering rage frightening in its intensity. What is the problem? The quality of the sound is extremely variable and far below the quality I've heard so far from the Opera D'Oro live recordings. Heck, it's below the standard set in Gigli's old recordings with Titta Ruffo from the mid to late twenties! Anyone out there remember the Bjoerling sets from the thirties and forties? They far outstrip this set in the quality and clarity of sound. Were the people recording this opera holding the mikes under their coats? I have the Horst Stein live recording of Don Carlos with Corelli, Janowitz, Ghiaurov, Talvela, Verrett, and Wachter, and it is a model of clarity compared to this Pagliacci. I don't remember the voices getting lost occasionally, as happens here. Maybe the singers were drowned out, but it sounds like the microphones were coverd by heavy overcoats.
For those who can overlook these particular lacunae, I would recommend this set. For those who want at least early electric era quality of sound, get the Corelli, Amara, Gobbi performance conducted by Matacic. If you can sleep through that one, call the morgue.
  The performance I'd give six stars, if I could, just for Vickers and MacNeil. The sound? (And I love old Ruffo and Caruso recordings!) That brings it down.
653657
As a longtime Al Di Meola fan and a lover of the guitar, I'm so glad I found this album. It features highlights from his best period, the Columbia years, as opposed to the Manhattan years.

Opening with 'Race With Devil On Spanish Highway' was a great choice. Al's guitar is incredible, and he shows he knows how to rock out in one breath and make beautiful music in the next.

At the time he recorded the closing track, 'Sarabande', which appears on his debut, he was only 22 years of age. Even on this track, Al shows his versatility on the instrument.

I would definitely recommend this and these other albums from Al:

Land of the Midnight Sun
Elegant Gypsy
Electric Rendezvous
Casino
Tour De Force-"Live!"
Friday Night In San Francisco
Passion, Grace And Fire

11 songs=56:07 total time.
A very worthwhile CD! A MUST-HAVE!!!
2573248
This orchestras debut CD Whistling in the Dark came out two years ago, to rave reviews, my own included, but good as that was, I rate this even more highly. The orchestra has perfected what Alex rightly calls its signature sound, ensemble passages of perfect unison punctuated by short individual solos, the whole underlaid by a rock-steady rhythm section. The selection adroitly mixes memorable songs of the twenties and thirties with hot jazz numbers. Many of these charts are notoriously difficult to play, let alone sing, but the orchestra navigates them with apparent ease, with great attention to the dynamics. Alex delivers the vocals with considerable panache, ably supplemented by Serena and Hannah. Thats My Weakness Now is a ukulele feature performed by the Hot Pods of Pepper, a small band within the band, in which the spirit of Cliff Edwards looms large. Other spirits conjured up include Jelly Roll Morton, Tiny Parham, Coon-Sanders Night Hawks, Hoagy Carmichael, and Carroll Gibbons (appropriate, given the orchestras current residency at the Savoy Hotel). The recording has captured the excellent musicianship in thrilling clarity, and I doubt youll hear a better new release in 2016.