Guitar Elegance: Paco De Lucia, Al Di Meola and John McLaughlin, live in Modena (1996)

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Al Di Meola – McLaughlin – Paco De Lucia biography
Active between 1980 and 1983 and again a one-off reunion in 1996

Though it would be anything else than a normal collaboration between artists, considering any one of the three musicians (being a normal character of jazz recordings/performances/outlined “gatherings” etc.), it’s an event (or just as well a phenomenon) that speaks beyond words, it’s interpreted above notes and means much ahead of impressions or symbols.

The musicianship of Al Di Meola, John McLaughlin, Paco De LUCIA (an order which doesn’t really count, each one was, at least once, “first up the order”) is a most refined example of how great minds think alike and how great souls can play on the same symbolic chord.

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Without a deep glance, the entire character is appointed upon the collective music effort, slightly upon a mix of style and personality (McLaughlin being a jazz/fusion/(world) artist, Di Meola being also on the jazz-rock tone, but slightly more titrated and De Lucia being a flamenco jazz artist) and upon the occurrence of great taste. The trio is in its entire eclectic and distinguished.

In 1979, Larry Coryell formed “The Guitar Trio” with jazz fusion guitarist John McLaughlin, and flamenco guitarist Paco de Lucia and toured Europe briefly, eventually releasing a video recorded at Royal Albert Hall in London entitled “Meeting of Spirits”. In early 1980 Larry was replaced by Al Di Meola, due to drug addiction.. The point of view is obviously focused on the “later” Guitar Trio (not that its prestige would be unfounded as the prime effect, major result, etc.). The essence is the virtuoso talents of all three musicians being equally on display.

As far as style is concerned, the combined powers make out of the trio’s music a flamenco essence of jazz. Besides that, the best to notice aspect is the dazzling virtuosity of guitar play and the eccentric subtlety of jazz interpretation, improvisation and such to think of. Within their last album, there is a piece exploring bossa nova.

Two releases stand as the reflection of their works, within the 80s. Friday Night in San Francisco , of 1981, is a bestseller, a fabulous performance, a most accomplished recognition and a fantastic masterpiece. Passion, Grace and Fire is what followed up in 1983, being a studio-recording only. After this 13 years of silence and of inactivity made out of the trio a select thing. The Guitar Trio, of 1996, is the reunion release and the last reference till present time.

“The Guitar Trio” are, by best regards, a legendary act and a completely founded recommendation. Towards fans, towards those with style, towards those who can imagine such things, towards all willingly enlightened by the idea.

With John McLaughlin and Al Di Meola being already in the archives, by solo references, it’s a clear context. Basically a “jazz flamenco-accent” style isn’t the most specific type of jazz-rock, but it can go. Most appropriate would be the question as to why the Guitar Trio should be highlighted separately. The most entitled and simple answer is that it isn’t specifically one of the member’s major role, but a musicianship and, as said within the first paragraph, a special flavor. (moreover, other examples of collaborations placed separately and specifically – like Fripp & Eno – exist and are normal).

 An inspiring live performance in 1981 by three great guitarists, that every guitar lover must hear. The late Paco de Lucia is one of my all-time favorite guitarists. Fast, virtuosic, passionate, and innovative he was, and so open-minded to blend the art of flamenco with other genre (like his collaboration with Al Di Meola, Larry Coryell, John McLaughlin and Chick Corea). The other two, Al Di Meola and John McLaughlin are definitely among best jazz fusion guitarists in recent time.

‘Mediterranean Sundance / Rio Ancho’ is an ensemble track consisting of two compositions: Mediterranean Sundance (Al Di Meola ‘ Elegant Gypsy 1977) and Rio Ancho (Paco de Lucia ‘ Almoraima 1976). This collaborative version is performed by both of them. The blend of flamenco and jazz, is just perfect. Al plays steel strings while Paco plays nylon strings, with their very own unique style: Paco’s powerful picados and rasgueados strum, combined with Al’s super-fast picking and palm muted style.

It is a very beautiful track, and the best track in this record in my opinion that I think has become a classic for acoustic guitar. There are a lot of other versions of this composition, even the one performed by Paco de Lucia and Larry Coryell. A good shorter version for more general audience was performed by all three of Al Di Meola, Paco de Lucia and John McLaughlin in Pavarotti charity concert in Modena, 1996 (Pavarotti and Friends for War Child ‘ Modena).

‘Short Tales of the Black Forest’ is a composition by Chick Corea for 1976 Al Di Meola’s Land of the Midnight Sun. Al performed this with John McLaughlin. The guitar dialogue they make is very playful and exciting (including a short funny moment where they play a phrase of Henry Mancini’s Pink Panther theme and subsequent blues improvisation).

‘Frevo Rasgado’ (from Brazilian composer Egberto Gismonti) is performed by Paco and John. This is a more difficult composition, but the theme is very nice. Paco and John make a wonderful harmony. It seems to me that they both beautifully adapt their style (respectively flamenco and fusion) to get South American flavor (that what this composition is about).

‘Fantasia Suite’ is performed by all three guitarists, the last live track of the album. This is Al’s composition (from 1978 ‘Casino’), consists of four parts that gives a lot of rooms for each of them to perform solo. The end part is glorious, with all three perform a fast picking phrase and strumming.

‘Guardian Angel’ is also performed by three guitarists, but recorded in the studio. Not as exciting as the live tracks, but still a lot of great phrases in this song.

The beauty of this album is about how they interact to each other, so much fun, so much virtuosity and excitement.

This is not a classical concert or guitar recital with particular etiquette for audience. This is a musical feast, a celebration of the guitar instrument where three guitars dance and talk to each other, and where audiences are free to express their amazement to many great licks and solos.

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