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.......Produktbeschreibung...........
Das erste gemeinsame Album dieser drei größten Gitarristen ihrer Generation blieb das mit Abstand beste – was folgte, waren nur noch (zu) viele Noten. „Friday Night…“ jedoch dokumentiert nicht nur die Virtuosität, sondern auch die Musikalität dieser herausragenden Instrumentalisten. Und ist obendrein auch noch phantastisch aufgenommen. Ohne Frage die unangefochtene Königin aller Gitarrenplatten. (1981) ..........................................
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................... Track listing .................
1. Mediterranean Sundance / Rio Rancho ...........
2. Short Tales of the Black Forest ...........
3. Frevo Rasgado ...........
4. Fantasia Suite ...........
5. Guardian Ange ...........
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...........Album notes ...........
Personnel: Al DiMeola, John McLaughlin, Paco De Lucia (steel & nylon-string acoustic guitars).Producers: Al DiMeola, John McLaughlin, Paco DeLucia.Includes liner notes by Bill Milkowski.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 Luc¡a 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 Luc¡a'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 ................
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................... Friday Night In San Francisco .....................
This live recording from 1980 matched fusion guitar heavyweights Al DiMeola and John McLaughlin with Spanish guitar whiz Paco DeLucia. The result, a dazzling technical display, also earned jeers as the international summit of world-class finger-wigglers by critics who felt it was long on chops and short on heart.
John McLaughlin's importance to the development of the jazz fusion scene can't be overestimated: as the guitarist on Miles Davis's seminal Bitches Brew and A Tribute to Jack Johnson, he was the first significant guitarist of the electric jazz era; on his own, he brought power rock, spiritualism, and lush orchestration to the scene via his Mahavishnu Orchestra.
DiMeola, the most commercially successful next-generation fusion guitarist, achieved stardom with Chick Corea's group Return to Forever and on his own records.
DeLucia, virtually unknown in the U.S., is a fine flamenco guitarist, and it is that orientation more than anything that colors Friday Night: even when playing straightforward non-flamenco compositions, the phrasing and sensibility lurks behind every note. Still, the passion of the music is frequently marred by the participants' inability to play at anything but the most breakneck pace. --Fred Goodman ...................................
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