Al Massir Destiny (1997)

They've done this in the past, back in the days of 'Masque' and 'Do They Hurt', when where they'll do one or two numbers with a 'steppin' out' rhythm (examples: AWB's 'Pick Up the Pieces' and Janet Jackson's 'What Have You Done For Me Lately'), but fully half of this album has that same quarter note-driven rhythm. It's an interesting mix–that sort of beat behind guitarist Goodsall's crisp tonalities. The track 'Virus' at nearly eight minutes is the longest one they've done in at least fifteen years. This album isn't as minimalist as its predecessor 'Xcommunication', which was based almost entirely on guitar, bass and drums–they use a session keyboarist occasionally, along with some new MIDI-powered synth and sampler tonalities done by Goodsall.

Drummer Al Foster is widely recognized as a first call jazz drummer who has worked with many greats, including an extended tour of duty with Miles Davis, as well as stints with Cannonball Adderley, Sonny Rollins, Thelonious Monk, Freddie Hubbard, Herbie Hancock, and Joe Henderson. This 1996 studio session made for the German Laika label is evidently Foster's first opportunity to record as a leader. Putting together an excellent band, with saxophonist Chris Potter (who doubles on soprano and tenor), pianist Dave Kikoski, and bassist Doug Weiss, Foster writes challenging post-bop compositions that inspire his bandmates, while he is perfectly happy to give them the spotlight. His bittersweet, bluesy "Monk Up and Down," is harmonically rich, with a superb tenor solo by Potter.

Al Bano and Romina Power are an Italian pop music duo formed in 1975 by then-married couple Albano Carrisi and Romina Power. They were highly successful in Italy and mainland Europe throughout the 1980s and the early 1990s. Their best known international hits include "Felicità", "Sharazan", "Tu, soltanto tu (Mi hai fatto innamorare)", "Ci sarà", "Sempre sempre", and "Libertà!"…

Guitarist Al di Meola's second record as a leader is generally an explosive affair, although it does have a fair amount of variety. With Jan Hammer or Barry Miles on keyboards, electric bassist Anthony Jackson, drummer Lenny White (Steve Gadd takes his place on the "Elegant Gypsy Suite"), and percussionist Mingo Lewis on most of the selections, di Meola shows off his speedy and rock-ish fusion style. He was still a member of Return to Forever at the time and was a stronger guitarist than composer, but di Meola did put a lot of thought into this music. The brief "Lady of Rome, Sister of Brazil" (an acoustic guitar solo) and "Mediterranean Sundance" (an acoustic duet with fellow guitarist Paco de Lucía) hints at di Meola's future directions. A near classic in the fusion vein.

One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever. The complex pieces (which include the three-part "Suite-Golden Dawn," an acoustic duet with Corea on "Short Tales of the Black Forest," and a brief Bach violin sonata show di Meola's range even at this early stage. With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career.

Two years after they recorded Friday Night in San Francisco, John McLaughlin, Al di Meola and Paco de Lucía reunited for another set of acoustic guitar trios, Passion, Grace and Fire, If this can be considered a guitar "battle" (some of the playing is ferocious and these speed demons do not let up too often), then the result is a three-way tie. This guitar summit lives up to its title.

Some things refuse to die, they just morph endlessly. While few of the original members of the Fabulous Thunderbirds are present for this effort, two founding members of Roomful of Blues are leading the charge. The results are commendable. Duke Robillard's expert guitar lines ride along on Al Copley's true-blue piano and smoky vocals for a very fine trip. The trademark Texas blues of Jimmie Vaughan is replaced here with some of the swampiest Louisiana R&B you can find. You'll boogie, you'll stroll, you'll pass out in your whiskey, but you'll have a good time.