Customer Reviews

Flesh on Flesh

5 star:		(10)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Al DiMeola's music is hard to write about. I have had this CD for more than a year now, and still have difficulty finding the proper words to describe it. It's technical, it's virtuoso, and it's extremely intellectual. There is something about DiMeola's compositions, particularly since Soaring Through A Dream, that is almost trance-inducing.
DiMeola is far more than just another fast guitarist, he is an explorer and a genre-bending virtuoso. With Flesh On Flesh, he shows once again that he is not afraid to take chances with the music of some of the greatest modern composers of other lands. Argentine master Astor Piazzolla has been a long-time favorite of his and in addition to one of AP's compositions, DiMeola offers his interpretation of a work by the renowned Brazilian Egberto Gismonti.
I had feared, as a couple of other reviewers, that the nude woman on the cover was a device to disguise schlock within much as with DiMeola's uninspired Kiss My Axe. To my delight, it was not. The CD is jammed with great music that fills the listener with a feeling of mystic tranquility.
Some reviewers complain of a similarity to other DiMeola works. Perhaps there are superficial similarities with music he has recorded in the past, but beyond that Flesh On Flesh just adds to the catalogue of DiMeola's fine accomplishments. My favorites are the dreamy Innamorata, the Piazzolla classic Fugata, and the mellow Saffire Soleil. I also enjoy the reworking of Senor Mouse, an old standard from Al's Casino album. I am least fond of the title cut, but it does not really detract from the album as a whole.
Over all, Flesh On Flesh is an excellent album that should please most current DiMeola fans as well as attract some new ones. The four stars mean that its not among his very best, but its not at all bad. Check it out!

Di Meola says on the record sleeve that on "Flesh on Flesh" he deliberately attempted to fuse the energy of his earliest records with his more sophisticated, compositional approach of more recent records. Sounds contrived? Or like some "commercial comeback" marketing gag, like the blurb on the "Kiss My Axe" and "Infinite Desire" sleeves? The naked woman on the front cover might convince you that way as well, but think again! Al really does achieve such a balance on this record and it is one of his best. The big bonus (believe it or not) is the inclusion of a flute in the band (perhaps the old Chick Corea influence?). It gives the music a sensuous, melodious tone that permeats the whole album and fits in among the fast Cuban rhtyhms and Al's acoustic and electric guitar playing remarkably well. Some tunes on this one are as orchestral in approach (though there's no orchestra on the record), as on Grande Passion. The difference is that the music is a lot more "up" on this record: meaning both upbeat in tempo and upbeat spiritually, in a joyous kind of way. The title track is a great example of that: acoustic guitar and flute playing a graceful, joyful melody over a very fast Cuban rhtyhm and concluding with an electric solo with all the passion of Dark Eye Tango. The music has that kind of passionate, electric-guitarist-as-lead-violinist, spirit to it that has been missing since Al put down his Les Paul, but the music is entirely new in style...that's whats so pleasing (I bet) to all Al fans. Al plays a new acoustic-electric guitar on this record, which sometimes has a similar tone to his early style Les Paul playing. When he does pick up the electric on this one, he does "let fly" a bit, playing fast and with an "edgy" tone. On a couple of tracks he even does (briefly) his old trademark speed muted picking/flamenco style of playing that he hasn't done for over 20 years. This is NOT a rock album, even though its energetic. There is nothing mechanical or contrived sounding about it (as on Infinite Desire) and there's no sense of Al trying a new style just for the sake of it (as on Orange and Blue) The music, like all Al's best music, is sensual, without being raunchy or the slightest hint of sleaze, energetic without being noisy. It is real "Dinner Music of the Gods" and, after a few listens, you'll see the record sleeve as a piece of art not a cheap excuse for putting a naked woman on the cover. He plays a classical guitar better than any jazz guitarist in history. The album is short enough at 50 mins (with two long jam like tracks taking up nearly 20 mins), but perhaps the best recommendation for the album in this respect is that you won't mind...its not one of those CDs you say: oh, its only 45 mins long--I'm not getting value for money. The music is too special for the thought to come into your head and reminds you that some of the best albums are the shorter ones, especially if it captures the spirit of the artist as well as this one. Joyful, tuneful music--what more could you want? This: Al plays acoustic and electric on this album with grace, passion and a touch of fire and there's none of that sampling, with guitars sounding like oboes or bells, stuff he did before. Instead it is much more of a guitar album and Al's band's achieve a blend of acoustic and electric works with a better balance of energy, melody and passion than ever before. Al is still the only artist I've come across who can play loud electric guitar music, loosy jazzy music, folk music or you name it while maintaining a POWERFUL SPIRIT to his music that seems to come from some a Latin/classical inspired source. That's the magic that's run through his whole solo career and that magic is here. Italian-Americans should be proud of him!

With Flesh on Flesh Al Dimeola has developed his own style. Let me say a word about my approach here. Too many Amazon reviews gush all over about how great the album his, without providing context. This is written for the experienced or curious Dimeola fan, to discuss where Al has come from and where he is now.

In 1974 Al Dimeola made a big impression in the jazz-fusion world as Chick Corea's new guitarist for Return to Forever, replacing the amazing but gritty Bill Connors. With his first few solo albums in the 70's he showed good writing ability as well. But since then he has labored in the shadows of guitarists John McLaughlin and Pat Metheny, as well as his mentor Corea. In the 80's he got a bit mired in a fusion rut where speed and accuracy trumped most everything else. He tried to climb out by following Metheny's lead into Brazilian sounds, but to me it was too derivative, not quite right for Al. In the 90's he did some world music, more fusion, and more Brazilian, all excellent, but he never quite achieved a cohesive sound. The best exception to this was 1985's great, all-acoustic Cielo y Terra.

Well, I'm glad to say here that has changed. This album is a complete whole, with great playing, but more importantly, all good compositions that reflect Al's own style. Some songs are great, including the edgy intro Zona Desperata, title piece Flesh on Flesh, which runs a range of emotions as it implies, and the complex Fugata. His band supports him perfectly, not reclusive as some times past but mixed in just right. Al even has fun with Corea's Senor Mouse, funking it up a bit and curtailing the tense middle section. (Al clearly wishes he'd played with Chick for the great Hymn of the Seventh Galaxy, as this is his third song from that album.) He has less need to impress here, and just wants to play his own music for us. Keep it up, Al!

Here is my inevitable "new(ish) Al release" review, here for you to read (or skim over, depending on whether or not it's worth reading). I've done my share of kissing up, and saying that the current Al release is the best ever. I've backed off for a while, delved into newer musical terrorities, and for the last year or so, have kept my palette relatively clean of di Meola's cd's. Now, i've just listened to this album, and it blows me away. The compositions are fantastic, the musicianship is top-of-the-line, and this music is just some of the best you're going to find in the modern jazz market.
This music is seemingly both an extension of di Meola's on-going tribute to Astor Piazolla, as is evidenced by such albums as "The Grande Passion", with its small groups, orchestras, and tango arrangments. Al showed then just how much farther ahead his music can and will progress, by focusing primarily on the music, the emotions behind it, instead of merely the flashy guitar licks. This, my friends, is yet another notch up the ladder.
I feel this to be the musical succesor to the afore-mentioned release, and his album "Kiss My Axe" from roughly 10 years ago. As on those recordings, although the melodic content of the music, along with the gentle progression of the material were the center-pieces, the real treat were the few tunes on 'KmA" where Al took out his classic Les Paul and burned the house down with his solos. He does this on his new album, and trust me, as contradictory it is for me to say that the fast licks arent important, and then to say that they are pivotal.....well, it's well worth the ride. Al can play faster, cleaner, more precise, and more intelligently than many of the others on the scene.
I don't want to point out specific tracks, but will assure that the music is diverse from one track to another. On some, you'll hear the traditional tango, and the next a soft acoustic number. There's a particular few, early on, where the percussion takes on an almost techno kind of rhythm. Al is moving with the times, as always. As much as I love the melodies and the emotional inflection of the notes, as soon as that distorted les paul starts zooming into the soundscape, i'm hooked. Maybe it's a male thing, or something related to the ephiphany I experienced as I walked home that first time listening to "Splendido Hotel".....I don't know. All I can truly say is that Al and his band are among the best, most talented, particularly his percussion section. It's just beyond me to describe it without sounding obsessed.......which, even after the time away from my fanatical Al listening, is still as strong as ever. Fanatic or not, i'm in love with this music. Let's hope for a live album....20 years is too long to wait!

Well ..Al Di is certainly not resting on his laurels after the phenomenal, and sublimely beautiful, "The Grande Passion"!
"Flesh on Flesh" expands on the strong latin influences of the previous CD, but fans of his ferocious talent on electric guitar will be very very pleased to see that Al Di has incorporated this to very great effect on several tracks on "Flesh on Flesh".
His compositional skills are going from strength to strength and he has long since silenced any critics who may have once said his technical skills lacked depth, passion or sensitivity. Quite simply, Al Di Meola is one of THE most gifted guitarists and composers EVER - tie this up with the supremely talented band...including the highly respected Anthony Jackson - who played on most of Al Di's best early CD's, the superb Mario Parmisano, Gumbi Ortiz and Ernie Adams - who have been mainstays of the band for a long time now - then add Gonzalo Rubalcaba and Alejandro Santo et al and you have the perfect ingredients for THE most important and enjoyable CD of 2002!
Al Di is touring at the momenet..and I cant stress highly enough that you should go and see them ....you will be enthralled!!

Every piece on this disc is strong and fully realized. It sounds like great care was taken in their design, each note has purpose and value. The composing is breathtaking and not like anything else happening in fusion today. The twists, turns, textures and tones are beautiful and fascinating to listen too. Al's compositional chops are becoming very strong with each new release. I eagerly await his next outting. If your a fan of Di Meola, fusion or the guitar in general you shouldn't be disappointed with this release.

This album is amazing. Full of energy and performed to perfection, this album cannot help but knock your socks off. Mario Parmisano plays the keyboards to within an inch of their life, and Alejandro Santos makes one wonder how a flute could possibly be played so precisely.

The album also includes some slower, introspective pieces, as well as an update to the classic Senor Mouse. The music itself has benefitted from a lifetime of learning since the early classics Casino and Elegant Gypsy.

Truly outstanding.

IF you haven't got any of this guy's CD's and you like good stuff then you got to get some of this stuff !!!!!!!

I went searching for a DiMeola album that I did not yet have. They're pretty scarce in stores, so I inevitably come here, and most often find what I'm looking for. This is a blend of styles that remind me of several periods in Al's career.
Zona Desperata opens with a great bass line and moves right to the scorching guitar I love from Elegant Gypsy, with piano scattered in to provide the depth and counterpoint.

Innamorata starts with a mystical acoustic and synthesized piano, peppered with midi fills. It's a very aromatic piece with great presence, and nice vocal backing. A great stress-reliever if ever there was one.

Meninas One of the things I have always loved about DiMeola is the instrumentation above and beyond Al's guitar. On this piece we have wonderful piano laying the backdrop and at times the parallel to the guitar. And don't forget the woodwind...

Flesh on Flesh This perky little number transported me to the Caribbean within the first couple notes. It's bright and light with the steel drums, percussion, and Al's guitar giving as good as it gets.

Fugate I love the way all the instruments on this album come through so clearly with natural resonances. This can be heard well on Fugate. It's a wonderful play of point and counterpoint.

Deep & Madly As the title suggests, this is more intense, again harkening back to the Al of days gone by. It's bittersweet, melancholy, and beautiful all at once. A lot like love, I guess.

Saffire Soleil is the kind of music I like to listen to at twilight, driving on an open road with the last rays of sun flickering through the trees.

Seòor Mouse is revisited with an electronic drum track, nice acoustic piano, and Al's sweetly timed main line. Lots of people can bend notes, but this is a lesson in how it's done!

If you like Al DiMeola, and you're willing to accept growth in artists, you will love this album. If you're locked on Casino or Elegant Gypsy, this may be the album to get you growing!

I read some of the other reviews and had to put in my five cents... I was quite surprised by the quality of the music on this CD. It's an approach which fuses fiery playing with fine and introspective composition, many of Al's own and very impressive in their sensitivity and complexity. The best one by far is Inamorata, a superb example of what fusion can be in the new millennium, in capable hands. This breathtaking piece is worth the price of the CD alone. Some complain that the album breaks no new ground, perhaps that is true with a couple of exceptions, but this can be easily forgiven given the sophistication and beauty of the work. So how do you explain the cover? It does not at all reflect the music within. It's been a tradition of Al's to put beautiful women in different degrees of undress, on his covers. Perhaps it is a deliberate attempt to draw attention to his music? Perhaps to distance himself from the "cerebral" covers of other fusion artists, a desire to stand out? Well, it is working for Al, I think. But make no mistake, the cover does not represent the sensitive, introspective and complex music on this CD, and should not prevent anyone from buying it.