Splendid Al Di Meola

Press, 24 September 1980, Page 18

Splendid Al Di Meola

Light and aazz

Peter Brittenden

Al Di Meola — Splendido Hotel, recorded by CBS. The immense talent of the American guitarist, Al Di Meola, is brilliantly captured on his Hotel Splendido album. Meola, who was first introduced to the United States jazz public in Chick Corea’s Return to Forever group, has spent the_ intervening period honing a skill which places him head and shoulders above all but two or three jazz guitarists in the world.

His latest record is a near-perfect blend of electric and acoustic jazz. Tracks like Isfahan, a Corea composition which exudes the mysticism of the Middle East, easily blend in with several tracks of a more “pop” vein.

All the titles on Splendido are played with exceptional skill. Meola is a guitarist who obviously practises and practises: his playing is incredibly precise and fast. Those who enjoy the relaxed guitar playing of Kenny Burrell or the late Wes Montgomery may find Meola very methodical in comparison. Although Meola does not have a free-wheeling style on this record he is very dynamic, although understated. Much of his playing seems to be subjected to the discipline of carefully written charts, but Meola says that in composing he always leaves room for plenty of improvisation. A feature of the album is. the recording of the

Bert Kaempfert classic, Spanish Eyes. On this track Meola is joined by the great guitarist, Les Paul, for what Paul insists is his last, recording date. In a relaxed up-tempo arrangement the conflicting styles of Meola and Paul blend in a complex “question and answer” session, well, backed by the wellknown drumming of a session musician, Steve Gadd, and bass playing of Anthony Jackson. Corea features on three

tracks and seems to revel in the quiet introspection of Meola’s compositions. * «S *

George Benson, Give Me the Night, Warner Bros. George Benson on an album produced by the legendary Quincy Jones. That sounds like an unbeatable combination, but in reality this latest Benson album is disappointing. Although names like Louis Johnson. Carlos Vega, Herbie Hancock, and Patti Austin appear on the credit list somehow the

magic of George Benson, so evident on his earlier recordings, is sadly missing. v Many. of the tracks on Give Me the Night are based on the boring repetitiveness of the new wave music of the 1980 s, and there is little to fire the imagination or stir the soul. * »?:

One one One, CBS Records. It would be easy to rubbish this album, which combines the guitarist, Earl Klugh, with the pianist, Bob James, and features Ron Carter, Harvey Mason, and Garry King in a weak attempt at making pleasant music. . That would be very unfair because One on One, although lacking some of the obvious attributes, of jazz, is a remarkably sensitive and intricate recording.

Although Klugh • and James share , the top billing, so to speak, it. is Klugh. who stands out with some beautiful acous-

tic guitar work. James, highly regarded in the United ' States as ah arranger, seems content to lay down the melody with which Klugh works.

The record features a totally different Harvey Mason, His reputation stretches way back to the early days of the Paul Butterfield Blues Band, but now Mason’s drumming is perfectly ■in tune with the more introspective playing of Klugh and James. Of the three bass players featured (each plays on two tracks) Ron Carter stands out. His reputation is boundless in the United States, and understandably so. Musicians ranging from Miles Davis to Wes Montgomery have used Carter on their recordings.

On some tracks a large string section is used to good effect and- these instruments combine with Klugh’s guitar to produce some haunting melodies, A highly-recommended record, especially for fireside listening.