Elegant Gypsy

There’s not enough that can be said about the genius of Al Di Meola. The Berklee College of Music alumni had achieved such amazing control over the guitar at an early age, that jazz great Chick Corea enrolled him for his band when he was only 20. When Corea picks up someone, talent is the last thing one has to worry about. Elegant Gypsy, Meola’s second solo album is prime example of his majestic fretwork.

Anthony Jackson’s bass lines on Flight Over Rio introduces the album in a very subtle manner and is beautifully disturbed with the synthesizer. Meola’s delayed entry puts an end to the built up suspense. After an intense solo section, Meola is joined by Jan Hammer’s keys, which more than aptly complement the bespectacled wizard. The bongo has been used to great effect to either build up or break down the momentum. Once again, Jackson enters to lead the exit with his bass work.

Midnight Tango presents its self with a surreal intro, with romanticism written all over its face. Meola’s critics often scorn at him for concentrating too heavily on speed. Yet again Meola proves otherwise, flowing beautifully from one melody to another, but he does throw in his trademark staccato fills as teasers. Jackson’s bass lines and Jan Hammer’s ballroom like piano piece add wonderfully to the track. The drums and bongo outro may seem out of place if the song is heard in isolation, but serves as a nice build up for the next track, an acoustic gem.

On the colossal duet, Mediterranean Sundance Meola is joined by flamenco guitar legend Paco De Lucia. Each of the geniuses takes their turns with leads, while the other does a splendid job in providing the rhythm section. The speed and accuracy of each player is jaw dropingly good. The melody on the track has a tremendous lyrical quality to it. Each time Meola performs this track live he always improvises the leads. The live album ‘Friday Night in San Francisco’ contains an extended version of this song, which is quite remarkable.

After hearing Mediterranean Sundance it is hard to imagine the track being matched, definitely not in the same album. However, with Race with Devil on Spanish Highway, that is just the case. After the acoustic Sundance’s closure, one comes across Meola’s electric masterpiece. The complexities of this song have daunted guitar players of the past and present. Steve Gadd’s tireless performance on the drums is noteworthy and inspiring. Hammer does a fine job keeping up with Meola on the short keyboard versus guitar duet. There is no stopping Al or his Les Paul for that matter.

Lady of Rome, Sister of Brazil provides a complete contrast from the electrified bombardment of notes heard on Race with Devil. The overdubbed guitars drenched in their Spanish flavour, sound all so warm and dreamy. On Elegant Gypsy Suite, Meola churns out a very exotic and hypnotizing tune. The song can almost be divided into many sub songs with each touching upon different levels. The length of the track provides room for spreading the different instruments spaciously.

It’s almost a sin if a guitarist or a fan of good music hasn’t got hold of this album yet. Elegant Gypsy contains some of the highest quality of music to ever be put on record. Meola’s Mona Lisa.