Al Di Meola - Casino
Al Di Meola - Casino
Al Di Meola - Casino
Al Di Meola - Casino

Al Di Meola - Casino

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Al Di Meola - Electric Guitar (A1, A2, A3, B1, B3) ; Acoustic Guitar, Mandolin, Castanets, Handclaps (B2) ; percussion (B3) [click here to see other vinyl featuring Al Di Meola]

Barry Miles (Electric Piano, Synthesizer, Organ, Piano, Marimba)

Anthony Jackson - Bass Guitar (A1, A2, A3, B1, B3)

Steve Gadd - Drums (A1, A2, A3, B1)

Mingo Lewis - Congas, Bongos (A2, A3, B1, B3) ; percussion (B3)

Eddie Colon - Timbales, Rototoms (B3)

Written by A. Di Meola (A1, A3, B2, B3), M. Lewis (A2), C. Corea (B1) 


1 LP, standard sleeve, insert

Original analog Master tape : YES

Stereo

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Pallas

Label : Speakers Corner

Original Label :  Columbia

Recording: May - September 1977 at Electric Lady Studios, New York, by Dave Palmer

Production: Al Di Meola

Originally released in 1978

Reissued in September 2018


Tracks :

Side A :

  1. Egyptian Danza
  2. Chasin' The Voodoo
  3. Dark Eye Tango

Side B :

  1. Señor Mouse
  2. Fantasia Suite For Two Guitars
  3. Casino



Reviews
:

« Following up the superb Elegant Gypsy was no mean feat, but Al di Meola gave it his best shot with the similarly styled Casino, released in 1978. Featuring a core band of Steve Gadd, Anthony Jackson, and Barry Miles (whom di Meola came up with before the guitarist was invited to join Return to Forever), the playing is sharp and fiery, matching the youthful intensity of the leader. Di Meola is a good composer in the fusion idiom, and the four original compositions on Casino, although clearly bearing the mark of Chick Corea's influence, are strong. His "Fantasia Suite for Two Guitars," featuring di Meola accompanying himself via multi-tracking, is beautiful and dramatic, and hints at the guitarist's later all-acoustic works such as Friday Night in San Francisco. "Dark Eye Tango" opens with a slow theme before turning into an uptempo vehicle for di Meola's darting Les Paul. In fact, it is the leader's solos that frequently prevent the Latin grooves and rhythms found on Casino from sounding stale and a bit dated. His trademark staccato phrasing and high-velocity improvisations are what is noticed upon first listen, but di Meola does have an excellent sense of phrasing that is undeniably present. Contrary to popular opinion, he knows how to use his technique to good effect. Casino is not as strong as either Elegant Gypsy or Romantic Warrior, but is nevertheless well worth picking up for fans either of di Meola himself or of the entire 1970s fusion scene. » AllMusic Review by Daniel Gioffre

Master of the strings, Al Di Meola, who turn his back on over-ambitious manual dexterity as in "Elegant Gypsy" to concentrate more on musical substance, demonstrates his intensive work with the material in the follow-up album "Casino". For example in "Egyptian Danza", an amalgamation of melodies which circle around one another and evoke with light electronics the contrasting worlds of the Orient, Occident and New World.

A far sharper sound is conjured up in "Chasin‘ The Voodoo", which escalates to an extremely tightly-knit continuous fire, infused with the maestro‘s familiar guitar sound. Di Meola - with himself alone - combines the idea of multiple rhythms and parts: In the "Fantasia Suite For Two Guitars", four miniatures with percussive zapateado and whirling flamenco, he accompanies himself thanks to multi-tracking. All great stuff, but the best comes last: in the lengthy title number "Casino" all powers come together to create a magnificent performance with varying tempos, layered patterns, deceptive metrical changes and, of course, guitar playing of the highest order.



Ratings
:

Allmusic : 5 / 5  ,  Discogs : 4,20 / 5  ,  Rate Your Music 3,71 / 5

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