Another invaluable lesson to be learned from these three guitar masters is that we should all, no matter what instrument we play, be open to music in other cultures. You never know what may inspire up and coming ideas that could take our art to a whole new level. I would have to whole-heartedly agree with Mr. I have been Inspired and touched by many acoustic recordings in my life but this one stands out heads above the rest.
The album was released on August 10th, This piece is minutes of pure musical genius, power, rhythmic ecstasy, and technical wizardry. Al on his Ovation plays with such amazing speed, accuracy, and power that it is very hard to believe that what he is doing is even physically possible on an acoustic guitar.
The melody lines are woven with some amazing Flamenco rhythmic sense and Latin feel. This makes a perfect bed for Al and Paco to improvise and trade some of the most interesting lines ever captured on tape! Both players go to places that are absolutely jaw-dropping. Another thing to listen for here is the genius rhythm playing of Paco De Lucia. It is a clinic on perfect timing, tone, and feel.
On this first track, it is evident that the people attending this concert will be treated to an evening of magic sounds and guitar playing at the highest level possible. It is technical bliss. What a great compliment to each player! By doing this, they create a masterpiece that is simply unforgettable. All three players here deliver a high energy, toneful, and complex performance while accompanying each other masterfully. You can hear on this track the respect and friendship that all three of these players share for each other as they blend together flawlessly.
Live albums are such fragile things, aren't they? I mean, under the performer's swagger, the stacks of Marshalls, and even the sometimes egregious overdubbing to mask imperfections and gaffes, very often one is left with inferior product, or at least not comparable to the original slick studio versions of the songs presented.
That is why there are very few truly great live albums. Most live recordings are of the throwaway variety: substandard greatest hits packages vomited up in order to appease record companies in lieu of actual studio content; or a means of promotional self-aggrandizement by performers and once again, in lieu of actual studio recordings ; or pirated concert recordings which appear in profusion on YouTube that are, of course, a chance to see a favorite band or performer play live when there is a dearth of anything that is new or of any consequence, musically speaking.
But it is indeed a rare occurrence for live material to rise above the studio work from whence it was culled. But first, let's talk about jazz. I know, I know? Putting on airs, is he, Lovey? However, in this review I am going to be a bit selfish. Now, I don't care about the abysmal listening habits of the far vaster society-at-large a public that is agog over Lady Gaga is suspect in any case ; but this definitive demonstration of flamenco- laden guitar jazz?
But if one worries about demographic accessibility, radio-friendliness and droning songs with three or four chord structures, then why in the hell are you listening to jazz in the first place? Or, in any case, why are you reading this review? Stick with Devo, Television, Poison, or whatever drek you swore by in the s.
But I digress. As a longtime guitarist and bar-band blues bludgeoner, all I can tell you is that I am in awe of the technical ferocity, incredible dexterity, and concordant reciprocity by which these three musicians blend and bend. And to make this album all the more intriguing, these virtuoso guitarists are not shredding the old-fashioned way, with the ubiquitous and almost obligatory Stratocaster or Les Paul; on the contrary, they are frying the frets of acoustic guitars!
This "unplugged" concert predates the staged versions on MTV by nearly a decade, and Friday Night certainly eclipses anything from that overrated, overblown series, save perhaps the outstanding performance by Eric Clapton.
But alas, poor Eric! For all his vaunted "Slowhand" moves, he couldn't keep up with these three players with a vast quantity of anabolic steroids and an eight ball of coke. Paco de Lucia is one of the finest flamenco guitarists in the world, Al DiMeola's first major band was the legendary Return to Forever his first band? He was only 21! It doesn't get much better. No, it doesn't get any better at all. But it is not merely the technical excellence and gaudy displays of frenzied fretwork that sets this album apart; the subtle nuance, ever-changing tone and timbre, and the synchronicity of the trio is breathtaking in its scope and impassioned delivery.
As I alluded to previously, the premise of this review besides my selfishness is to present a live album wherein the concert performances exceed the studio versions of the songs. The version on Elegant Gypsy is certainly a worthwhile listen, but it is staid and conservative in comparison to that found on 'Friday Night in San Francisco'.
For Al DiMeola and Paco DeLucia, it is a battle of pick versus pluck, as jazz fusion meets flamenco guitar method, and the variation in styles gives a nice counterpoint between older and newer forms not to mention more scales than on Godzilla's bare behind. Yet this is no sterile exercise in emotionless expertise, the enthusiastic audience is heavily involved throughout, hooting and hollering in delight, adding to the magic of the night.
Also, there are dashes of humor intermingled with the good-natured one-upmanship, such as when DiMeola and McLaughlin take a whimsical detour in Chick Corea's composition "Black Forest" that leads them to play parts of the "Pink Panther" theme and some raunchy 12 bar blues.
Further highlights include a spirited duet by McLaughlin and DeLucia on Brazilian composer Egberto Gismonti's "Frevo Rasgado", and DiMeola's "Fantasy Suite", a grand finale in which all three guitarists shoot out the lights and trade finger-blurring volleys. Oh yes, and if that weren't enough to have you fretting with plectrum envy, there is a studio recording of the haunting "Guardian Angel" which was a precursor to 'Passion, Grace and Fire', the album that followed their live tour.
I am aware that the term "masterpiece" is thrown about with nauseating regularity in these degenerate days when karaoke cover versions of hit songs sung by members of Glee seemingly hit number one on the Billboard charts every other week, but the improvisational brilliance of Friday Night in San Francisco is a transcendent experience.
At least, for this 'umble guitarist. Four and a half stars, because it is not a progressive rock album and based on prog- archives criteria, not germane to the general discussion , Five stars for jazz content and virtuousity.
Review by Mellotron Storm Prog Reviewer. McLaughlin, Di Meola and De Lucia are all virtuoso's in their own rights, and putting them together does actually work which is why this became so popular. As i've said emphatically before I really detest the idea of no electric instruments, but having no bass, drums or keyboards really does make this recording pretty one dimensional in my opinion.
This is all a matter of taste of course. There are many great moments here, but for me I can't offer up that fourth star. The crowd that was there that night would definitely disagree with me. Review by snobb Special Collaborator Honorary Collaborator. I even didn't realize at what moment it became Yes , everything is better than OK, but You should be a heavy fan of acoustic guitar sound just to enjoy this long repeating strings vibrations.
Please understand me right, the music is very professional, of high technical level, so you should be happy with that. But I just think, that once found original and extremely sucsessful "triple acoustic guitars" formula was intereted in "Friday Night His performance with the orchestra under Edmon Colomer was highly acclaimed, a sensitive, atmospheric rendition that composer Rodrigo himself praised, describing it as "pretty, exotic, inspired I might add that Paco plays it with a great deal of feeling, far more than is normally heard.
And that goes for the orchestra that backs him up. In he toured the United States and Canada with Seville flamenco singer La Tana ,  but subsequently greatly reduced his live performances in public. He retired from full touring, and would only give a few concerts a year, usually in Spain and Germany and at European festivals during the summer months.
In , he was awarded an honorary doctorate by Berklee College of Music in Boston ,  and performed at the Montreux Festival. He was also known for some years to select countries where he did not usually perform, and played at the Arena in Pula , Croatia in and ,   and in Turkey , Morocco and Tunisia in While playing soccer with his son on the beach, he asked his wife to take him to the hospital because he felt a "strange coolness in his throat.
Soon after, he lost consciousness and died. His album Fuente y Caudal Fountain and Flow has been cited by many to have changed the world of flamenco guitar beyond traditional flamenco culture. If you lack technique you lose the freedom to create. A master of contrast, he often juxtaposes picados with rasgueados and other techniques and often adds abstract chords and scale tones to his compositions with jazz influences.
Bill Milkowski of Down Beat described him as "the portrait of studied concentration and pristine perfection: stiff backed and stern faced, with a distinguished air about him that some might misread as haughtiness. He's proud and majestic, like a regal Arabian steed prancing with grace and elegance, yet able to reveal great power. It's almost like a lullaby. He understood this instrument, which he saw as a permanent solution to the need for percussion in flamenco.
Along with Rubem Dantas , he added its percussive elements and it became an essential tool of contemporary flamenco and later, other international musical trends. From Wikipedia, the free encyclopedia. Flamenco classical. Guitarist Composer. Retrieved 29 January Guitar Atlas, Flamenco. Alfred Music Publishing. Retrieved 4 March Global Minstrels.
Retrieved 17 September Retrieved 4 February Retrieved 22 September Guitar Facts. Reply Notify me Helpful. To hear the best three acoustic guitarrist of the world is one listening experience worth having. Have: Want: 88 Avg Rating: 4. Jazz Guitar by clearclack. Contributors 8m2stereo , ubongo , volospion , Urs60 , betonarme , sebfact , copirate , Quael , Fender Sell This Version.Jun 02, · John McLaughlin, Al Di Meola, Paco De Lucia* John McLaughlin, Al Di Meola, Paco De Lucia* - Passion, Grace & Fire (CD, Album, RE, RM) Sony Records: SRCS Japan: このバージョンを出品/5().