Posted on: July 20, 2020 Posted by: admin Comments: 0


# – 06/20/08 AM Al DiMeola transcription. johann Offline Member Registered: 06/16/ Posts: 5. Loc: mexico, NL. Can’t find the rest of the. As recorded by Al Di Meola (w/Paco de LucĂ­a). (From the Album ELEGANT GYPSY). Transcribed by Patricio Espigares. Music by Al Di Meola. A Intro. Transcript of an Interview from Jackie’s Groove. Interviewer: Jackie Bertone. Interviewee: Al Di meola. Al-Di-Meola. Note: {I.A} means In Audible / Hard to.

Author: Aralabar Magami
Country: Comoros
Language: English (Spanish)
Genre: Sex
Published (Last): 23 August 2006
Pages: 483
PDF File Size: 11.78 Mb
ePub File Size: 19.55 Mb
ISBN: 155-9-65819-231-4
Downloads: 36983
Price: Free* [*Free Regsitration Required]
Uploader: Vonris

Al and I finished off over Skype while he was in the Ukraine a couple of days later. As with so many guitar players, Al was a most generous and patient interviewee, and I enjoyed our chat immensely.

In the beginning, as a child, you know, before ten years old, somewhere between eight and ten, that whole new sound, that was quite revolutionary and very impressive to a whole generation of people including musicians and, or budding musicians, or musicians to be, a lot of us took up music, guitar, because of them and if, you know, we really did follow their evolution through the years, so right up and through high school, you know, we all anticipated like the rest of the world their next record and the development that took place, the records like Magical Mystery Tour, Sergeant Pepper, the White Album, Abbey Road were remarkable then as they still remain today.

Was it difficult when you first started to actually take the jump off point when you knew that you were going to do something that was maybe a little bit more radical compared to the versions that are more faithful, if that makes sense, was it difficult to leave the first time?

I was always melodic-minded, even though there was a high technical aspect to my music which was probably at the forefront of why people liked what I was doing and then there was the production side which was totally the Beatles, because I was really influenced and that did carry over into my records and how they produced their records.

I was really into the production and that came from transcrjptions to the Beatles. That was totally me and totally because of the Beatles, it was totally because of George Martin and the Beatles and because of how they separated things and I still love that. Why was it big, that was partly due to the fact that they were recording a very small amount of tracks of analogue which completely blow away anything trwnscriptions in the digital world, even to this day.

I mean how did you, what was the recording process for this and what kind of geeky gear did you use, what was your rationale behind the recording? So as it turns out he was my next door neighbour and I got to meet him and we got to talk about the project and that was really, really an amazing moment, just a total fateful situation.

It was good to see you again, I first saw you in in Torrence in Los Angeles, some shows there. So I booked Studio 3 and that began the recording process that eventually wound up becoming a product. Me do a project with him? I spoke to him that I transcriptikns recording his music at Abbey Road doing a version of it. Not so sure if he got it, who I was, or if he even knows. No, it was a dream come true to meet him, it was like my bucket list, top of the bucket list would be to meet Paul McCartney, and I got to meet him.

I think if somebody was with him it might have hit them as to who I was and then that might have rung a bell, you know? He might at that point get it, you know. Well, yeah, it would be great to do something with Paul, I did something with Stevie Trznscriptions that was really nice, that I remember as a great project.

So if Piazzolla just after Unfortunately the timing that, you know, unfortunately he passed away after a stroke. When I met him and his band they were very much knowledgeable about what I was doing and they were all kind of fans of my stuff.

Al Di Meola -Elegant Gypsy (Album Transcription Book)

So they so friendly, they were so warm and that it kind of encouraged me to enquire more about their stuff. He actually wrote me letters, I mean long letters of his admiration of me and I think I got two or three of them which even then it was a period in time when I would never write a letter, you know?


And, but at the same time, analysing that emotion that you felt, that depth of whatever, that really bought you to tears, the music was still very challenging. So for me, it just kind of inspired me tremendously to move, or try to move, in a direction that had elements of both, where the melodies kind of, you know, move you to that level of sentimentality, you know.

Al Di Meola – 1976-1992 – 13 Albums

A lot of the fusion prior to that was never really going there, I was never really touched and moved. Well it pushes you to greater heights, no doubt about it. We were trying to impress one another and I think through that the audience was really getting off on it. No, I really felt like I was thrown into, you know, an arena of giants and you had to fight, you had to fight, it was either sink or swim as well, you know?

But John and Paco, transcriptiojs was, you were thrown into the arena of giants in a sense and you had to immediately rise to the occasion, in fact you had to kick some ass sometimes too, because it was really like, ah man, it was hard, it was just plain hard, you know, you had to be totally on your transcriptins. What are you most comfortable doing? What do you do when you pick up the guitar? Depends on the piece really. I was just wondering how it makes you feel to have influenced all these heavy metal guys?

Well maybe not now, no. Not really, you know, id what set me apart was that I was doing something maybe with a rock sound but it was the music far more important and beyond for me to weed out all the complexity and interesting parts to make it rock palatable, you know?

So how are they going to remember something that has 5, notes in it in one song? When I first started playing? My guitar teacher was a big, big influence because he was into guitar players like Johnny Smith, Tal Farlow, Barney Kessel, so I really like admired his knowledge and skill of jazz chords and all that stuff, even though I was into the rock and pop thing. So having both merged together in terms of what I was learning from him, but what I wanted to, what was influencing me at home playing on my record player and going to shows in New York laid transcripttions perfect ground work for my being able to get the gig at 19 years old with Return to Forever, which at that point was probably the best electric guitar share anyone could ever have, because it was probably the most interesting electric guitar music written for electric guitar at that time, and it was one of the three pioneering groups of the whole new movement and when you really look back at it, which is easier for me to analyse now, there was a reason why that movement had trancriptions happen and it was largely due to audiences that were just getting a little bit bored with the standard rock thing, they wanted something more, and we were the answer to that.

What was your favourite tune that you played from the Return to Forever? What did you get off most on on stage? Too many tunes to mention. And I have an RMC pick-up on it which activates through a foot pedal a few different sounds that I favour, one being an electric guitar sound, one being like a base sound and ones like a 12 string sound and I always combine them at certain points within wl composition with the actual nylon sound. Do you recall hearing that?

Yeah I recall hearing that absolutely. I was also thinking that you use, do you use any other kind of guitar types?

I recall that you used the SynthAxe at one point, I remember you using one in albums. So it was an interesting period because guys like myself and Metheney were so kind of knocked out with the sounds that the, you know, the sounds that the sample set down as well, you could take a sample sound and play it on a guitar, but then we were almost, and I see we because he was doing a lot of the same thing, we almost forgot about the sound of the guitar, you know, and that was not a good thing, that was a real bad thing because people, no matter how cool the sounds were, they want to hear the guitar.


It was some kind of Japanese guitar with a name that was called a Segovia, but it was an electric guitar, very cheap. Yeah, it was a solid body like a, the closest it would look like is more a Strat like than Les Paul like. So that was my first good guitar.

I think I bought a about eight years ago, the last time I bought a guitar. So what was your epiphany for the guitar, what was it really made you sit up and take notice and say this is what I must do? Well the first time I picked one up which was when I was probably like eight years old, seven or eight. Friends of my sister had brought over a a Fender guitar and a Fender amp and I remember picking it up and, you know, just placing my hands on the strings and making a sound was enough to get the wheels turning and fired up my curiosity.

Listen to your favourite players and try to copy them.

Learn how to read music, number two. Number three, get a good teacher. How about three ways to really get your technique fizzing, what are the three most important things that you think a guitarist needs to now technically, as in to make it work?

Al Di Meola -Elegant Gypsy (Album Transcription Book) – PDF Free Download

What are the three things that people miss? OK I got the last part of what you said. They have to first, more importantly than anything in the whole world is rhythm. Some of the Beatles music was far more simpler than Piazzolla dj my music. The Beatles music is simple to play but what I wanted to do was bring my own thing to it, not necessarily make it hard, but I wanted to make it interesting as I do in my own world, so I meeting them, if you know what I mean.

I know exactly what you mean about the foot as well, about the time. Most of them have great time. You trascriptions some stuff. There are a lot of older recordings you listen to and you go man! And how can they? And you know what? Nobody transcriotions, nobody will. I feel as though, wow!

Not just my own records, you know, records of people that I love. It sounds like it was total focus. Do you think that also has affected it? Transcriptiions does it sound good?

Is it the real drummer transcriptioms is it the SAP? So what outside of music do you, what do you do to relax outside of music, what stuff turns you on outside of music? Outside music, not much, not much. I mean I enjoy just going to a restaurant and things of that nature, you know.

Do you consume any other art forms? Do you like paintings or galleries, that kind of thing, books? Do you read literature, do you look at paintings, do you go to galleries, theatre, stuff like that, or not? Magazines, I check them all out. My list goes moela. So, how come your band are mainly European?

So I do the States but just not as much.

Al DiMeola transcription – MusicPlayer Forums

Well you know what? I think the Germans appreciate what you do, partially because they appreciate the way that you command your instrument, because, from my experience when I played in Germany, they really appreciate people who can operate their instruments very well and can have a really good physical and technical rapport with them.

Actually Elegant Gypsy was on the level of like a, you know I had a couple of hit singles off that record in Germany. The thing sold 5 million records and is still going strong, Friday Night in San Francisco. It was far bigger and better than they thought and that, getting back to Germany, is what really catapulted because what that did was it opened up this giant door for me to do whatever I wanted to do, especially acoustically, because that, even in my early 20s, which was when that happened, I saw the future.

I saw it and I said, this is what I want to do. I do miss the electric guitar but in different ways. Al di Meola pete langman. Your email address will not be published.


Leave a Comment