Paco De Lucia / John Mclaughlin / Al Di Meola - Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola CD

Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola songs Master Sound releases are 24-karat gold plated CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's "Super Bit Mapping" system. This is a Super Audio CD playable only on Super Audio CD players. Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers. The first track features Al di Meola and Paco de Lucía teaming up for a medley of di Meola's "Mediterranean Sundance" (first recorded by the duo on di Meola's classic 1976 album Elegant Gypsy) and de Lucía's own "Rio Ancho." It is a delightful performance, full of the fire and inhuman chops that one expects from two players of this caliber. However, the two guitarists obviously have big ears, and they complement each other's solos with percussive, driving rhythm parts. There is a laid-back, humorous element to Friday Night in San Francisco as well, best witnessed in di Meola and John McLaughlin's performance of Chick Corea's "Short Tales of the Black Forest." Rapid-fire licks from the pair soon give way to atonal striking of the body of the guitar, running picks along the strings, etc. Before the farce is completed, they have played a blues and quoted the Pink Panther theme. It is funny stuff, and it serves to dispel the image of the trio, especially di Meola, as super-serious clinicians more concerned with technique than music. The other great piece of evidence against such a narrow-minded claim can be found in both the quality of the compositions featured on Friday Night in San Francisco as well as the sensitivity and dynamic variation brought to the performances. A perfect example of this is the sole studio track, a McLaughlin composition entitled "Guardian Angel" (the opening theme of which is taken straight from "Guardian Angels," a song that appears on McLaughlin's 1978 Electric Dreams album). It is a fine piece, and one that features a haunting melody as well as some of the best solos on the record. All in all, Friday Night in San Francisco is a fantastic album and one of the best entries in all of these guitarists' fine discographies. ~ Daniel Gioffre Includes liner notes by Bill Milkowski. Full performer name: Al DiMeola/John McLaughlin/Paco De Lucia. Personnel: Al DiMeola, John McLaughlin, Paco De Lucia (steel & nylon-string acoustic guitars). Producers: Al DiMeola, John McLaughlin, Paco DeLucia. Personnel: Al DiMeola, John ...

Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola buy CD music "Pavilion" was nominated for a 1997 Grammy Award for Best Rock Instrumental Performance. "S.R.V." was nominated for a 1998 Grammy Award for Best Rock Instrumental Performance. VENUS ISLE heralds the return of Zippo-waving, head-bobbing AOR and the larger-than-life guitar god. Eric Johnson is fully capable of accepting that lofty mantle. He combines dizzying dexterity with a harmonically advanced compositional style that encompasses progressive rock, blues and jazz fusion. Disdaining the shred-and-burn approach favored by many of his peers, Johnson opts instead for an atmospheric, delicately textured sound on VENUS ISLE. This sonic featherbed is realized with the help of synth player Steve Barber, whose keyboard washes and arpeggios shadow Johnson's guitar throughout the album. Johnson himself contributes a fair amount of synth (triggered by both guitar and keyboards), a testament to the fact that he is a texturalist first and a chopsmeister second--though his storied axemanship is featured prominently on tunes like "Camel's Night Out" and "All About You." Johnson has put as much care into his arrangements, lyrics and composition as his guitar playing on VENUS ISLE. For a guitarist on his level, that's quite a bit of care. Live Recording Recorded at Saucer Studios, Austin, Texas. Personnel: Eric Johnson (vocals, guitar, lap steel guitar, classical guitar, piano, synthesizer, guitar synthesizer); Christopher Cross, Amit Chatterjee (vocals); Jimmie Vaughan (guitar); Bruce Williams , Jennifer Bourianoff, Anthony Stogner (strings); Scott McIntosh (trumpet); Steve Barber (synthesizer); Tommy Taylor (drums, percussion); Bill Maddox (drums); James Fenner, Chris Searles (percussion). Audio Mixer: Richard Mullen . Liner Note Author: Vince Mariani. Recording information: A&M Studios, Hollywood, CA (1996); Arlyn Studios, Austin, TX (1996); Digital Services Recording (1996); Reelsound Recording (1996); Rocket Ranch (1996); Saucer Studios, Austin, TX (1996). Illustrator: Max Crace. Photographers: Park Street; Max Crace. Arrangers: Eric Johnson ; Vince Mariani; Kyle Brock; Steve Barber; Tommy Taylor. Personnel: Eric Johnson (vocals, classical, electric & lap steel guitars, piano, synthesizers); Amit Chatterjee (vocals); Jimmie Vaughan (guitar); Richard Kilmer, Bruce Williams, Jennifer Bourianoff, Anthony Stogner (strings); Scott McIntosh (trumpet); Steve Barber (Hammond B-3 organ, synthesizer); Kyle Brock, Roscoe Beck, Chris Maresh (bass); Bill Maddox (drums); Tommy Taylor (drums, percussion); Chris Searles, James Fenner (percussion); Christopher Cross (background vocals).

Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola album for sale Anyone with even a passing interest in classic fusion and progressive jazz will want to own TRIO OF DOOM. Comprising three giants of the genre--guitarist John McLaughlin, drummer Tony Williams, and bassist Jaco Pastorius--Trio of Doom recorded both a studio session and a live set in 1979, and this 10-track disc contains selections from each, including Pastorius's "Continuum," McLaughlin's "Dark Prince," and Williams's "Drum Improvisation." Needless to say the playing is superb, and the energy--complex, knotted, and consistently pushing toward astral heights--is dazzling. Recording information: CBS Studios, NY (03/03/1979/03/08/1979); Karl Marx Theater, Havana, Cuba (03/03/1979/03/08/1979). Photographers: Don Hunstein; David Gahr. Personnel: Jaco Pastorius (bass guitar); Tony Williams (drums); John McLaughlin (guitar); Tony Ruption Williams (drums). Liner Note Authors: John McLaughlin; Bill Milkowski.

Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola CD music GERSHWIN'S WORLD won the 1999 Grammy Award for Best Jazz Instrumental Performance, Individual Or Group. "St. Louis Blues" won the 1999 Grammy Award for Best Male R&B Vocal Performance and Best Instrumental Arrangement Accompanying Vocal(s). The epitome of a 20th Century musician, Herbie Hancock has always traversed wildly divergent stylistic paths, finding his way easily into jazz, funk, fusion, dance-pop and more. His ability to make valid individual statements in all these genres is part of what makes his compositions and performances so rich. So it doesn't seem at all incongrous for Hancock to interpret the work of George Gershwin, redefining much of the Gershwin canon in the process (with assistance from some world-class compatriots). Hancock's stated aim for GERSHWIN'S WORLD is to get inside the pieces, illustrating their essence rather than knocking off rote versions of these standards. Towards that end, "St. Louis Blues" is transmogrified by the soulful vocals and funky chromatic harmonica of Stevie Wonder; "It Ain't Necessarily So" becomes an ominous, angular jazz vamp, with saxmen James Carter and Kenny Garret trading arch, sly interjections. Another genre-buster, Joni Mitchell, makes a case for a potential career as a jazz vocalist via her performance on "The Man I Love" and "Summertime." Personnel: Herbie Hancock (piano, organ); Herbie Hancock; Bakithi Kumalo (guitar, bass instrument); Eriko Sato , Eric Wyrick, Renee Jolles, Asmira Woodward-Page, Richard Rood, Ellen Payne, Clavin Wiersman, Ronnie Bauch, Naoko Tanaka, Martha Caplin, Catherine Cho, Jennifer Frautschi, Joanna Jenner, Todd Phillips, Peter Winograd, Nicolas Danielson (violin); Toby Appel, Katherine Murdock, Ahling Neu, Nardo Poy, Sarah Clarke, Karen Dreyfus (viola); Susannah Chapman, Melissa Meel, Mina Smith (cello); Elizabeth Mann (flute); Charles Neidich (clarinet, e flat clarinet); David Singer (clarinet); Brian Greene (oboe); Matthew Dine (English horn); Cynde Iverson, Michael Finn (bassoon); Chris Komer, William Purvis (horns); Ira Coleman, Alex Al (bass instrument); Gene Jackson (drums); Madou Dembelle (djembe); Cyro Bapista, Bireyma Guiye (percussion); Robert Sadin (programming, drum programming, percussion programming); Kathleen Battle (vocals, soprano); Stevie Wonder (vocals, harmonica); Joni Mitchell (vocals); Marlon Graves (guitar, percussion); Charles Curtis (cello); James Carter , Wayne Shorter (soprano saxophone, tenor saxophone); Kenny Garrett (alto saxophone); Eddie Henderson (trumpet, flugelhorn); Chick Corea (piano); Terri Lyne Carrington (drums); Massamba Diop (talking drum); Cyro Baptista, Cheik Mbaye (percussion); Orpheus Chamber Orchestra. Audio Mixers: Marlon Graves; Brian Vibberts; Bruce Swedien. Liner Note Authors: Herbie Hancock; Robert Sadin. Recording information: HIt Factory (03/1998-06/1998); Master A Work Studios (03/1998-06/1998); Masters At Work Studios (03/1998-06/1998); Ocean Way Recording (03/1998-06/1998); O'Henry Sound Studios, Los Angeles, CA (03/1998-06/1998); Right Track Recording (03/1998-06/1998); RPM Sound Studios, New York, NY (03/1998-06/1998); RPM Studios, NY (03/1998-06/1998); sony Music Studios (03/1998-06/1998); The Hit Factory, New York, NY (03/1998-06/1998). Author: Duke Ellington. Illustrator: Istvan Banyai. Photographers: Robert Zukerman; James Minchin; Jimmy Katz. Unknown Contributor Role: Orpheus Chamber Orchestra. Arrangers: Herbie Hancock; Stevie Wonder; Robert Sadin.

Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola buy CD music Long known for his forward-looking approach to flamenco music, Paco De Lucia has had a distinguished career as a guitarist, songwriter, collaborator, and frontrunner in the old and new guards of flamenco. After 40 years of putting his personal spin on Spain's musical tradition, De Lucia leans more toward his roots on 2004's COSITA BUENAS. Intense, passionate, and filled with stunning grace and precision, the album is threaded through with virtuoso guitar playing, handclaps, and percussion that evoke native costumes, brightly lit Spanish cafes, and dusty Andalusian plains. De Lucia plays bouzouki, mandolin, and lute, as well as guitar, on the record, while guest vocalists and the occasional second guitarist keep the sound fresh and varied. Though De Lucia's allegiance to tradition is clear, this is undoubtedly a modern release, with the guitarist's expressive phrasing, nimble articulations, and knack for recurrent melody evident throughout. The result is an intricate, deeply felt album that will transport the listener to a world of beauty. This is a rounded and polished album that is, above all, loyal to Flaminco. Eight tracks as regards both his own music and music in general. Three Bulerias blaze the trail "Patio Custodio", "Volar" and "Que Venga El Alba". On the last of these, De Lucia reaches back in time to rescue his inner voicec, Camaron de la Isla, and plays alongside the third of the holy trinity, Tomatito. Audio Mixer: Pepe Loeches. Recording information: Musiquina. Personnel: Paco De Lucia (bouzouki, lute, mandolin, guitar); Pirana (percussion); Guadiana, Antonio El Negro, Montse Cortes, Tana, Potito, Angela Bautista (background vocals). Personnel: Paco de Lucía (vocals, guitar, bouzouki, lute, mandolin, palmas); Angela Bautista, El Potito, Montse Cortés (vocals, palmas); Tomatito (guitar); Alejandro Sanz (tres); Pirana (percussion); Guadiana (palmas).

Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola songs Director: Paco de Lucía. Personnel: Paco de Lucía (guitar); Julio Vallejo, Ramon Algeciras, Paco Cepero (guitar).