Its album number 3 for Al Di Meola, released in 1978.
This time around its more of a band with Al Di Meola on all things guitar related, Barry Miles on keyboards, Anthony Jackson on bass, Steve Gadd on drums, Mingo Lewis with Eddie Colon on percussion.
While the first two albums had a lot of rock and metal overtones to it, this one leans more in the jazz fusion domain, in which Rock and Metal is not the dominant fusion partner as it was on the first two albums.
An exotic riff made up of single notes begins this song. If you’ve listened to the first two albums it would be familiar, however if this was your first exposure to Di Meola it would be unusual and innovative, full of time changes, Arabic like influences and unison bass/guitar riffs.
It’s progressive and the drumming from Gadd thunders throughout the song.
Chasin’ The Voodoo
Percussionist extraordinaire Mingo Lewis is back again, with another excellent composition. He is the one that wrote “The Wizard” on the debut album and “Flight Over Rio” on the second album. From the whole album, this song is the progressive rocker and a favorite.
As expected, the song begins with percussion before a progressive bass riff kicks in. The drumming is frantic. Then the guitars kick in with chords and Di Meola’s superfast machine gun alternate picking.
There is a lot to unpack here, but my favourite section is brief, between 4.15 and 4.25.
And you’ll be pressing play on this, for the very underrated bass guitar playing.
Dark Eye Tango
A slow groovy bass line begins and when the drums come in, it’s like a wedding waltz, which Di Meola solos over appropriately.
At 1.38 it goes into a Latin/Flamenco feel, as the tempo increases and the solos while repetitive are catchy like a good Chorus.
Then at 2.57, a brief distorted guitar riff begins, which reminds me of Rush and Alex Lifeson, before it moves back to the Latin Flamenco feel, 15 seconds later.
On a sidenote, the keyboard riffs are great to play on guitar as well.
It’s a Chick Corea cover from Di Meola’s days in Return To Forever before he went solo. But he slows this one down and it doesn’t have the manic interplay of the original.
Regardless it’s still a good interpretation and it feels like the start of a movie.
Some sections are atonal and some sections are locked into a mode, with some chromatic notes being used as passing notes.
I like the bass riff at the 5 minute mark which Di Meola then goes into a flamenco like lead to complement. His palm muting technique is excellent.
Fantasia Suite For Two Guitars
It has four movements, in “Viva La Danzarina”, “Guitars of the Exotic Isle”, “Rhapsody Italia” and “Bravoto Fantasia”.
While all the ingredients are there for a flamenco sounding track, it’s more classical and Tuscany, then Spanish/Portuguese.
The section which I think is “Rhapsody Italia”, has strummed major chords with sevenths and ninths added while Di Meola throws in a fast machine gun lick here and there.
The closer. 9 plus minutes.
How good is the opening riff?
This album is a lot more experimental than the previous two albums and while “Elegant Gypsy” is the jewel in the crown, “Casino” shows a style that he would carry through from the mid 80’s and into the 90’s.