Review by Alex Henderson
Despite the aggression its title implies, Kiss My Axe is the work of a softer, more reflective Al di Meola, who had become greatly influenced by Pat Metheny's subtle lyricism, but still had a very recognizable and distinctive sound. Di Meola's new approach was perfectly summarized when, in 1991, he told Jazz Times he wanted to be "enchanted" by the music instead of dazzling listeners with his considerable chops. Di Meola still has fine technique, but avoids overwhelming us with it, and shows more restraint than before. One thing that remains is the guitarist's strong interest in world music -- this imaginative session liberally incorporates Latin influences (Brazilian, Spanish, Peruvian and Afro-Cuban) as well as Middle Eastern and African elements. In that Jazz Times interview, di Meola explained that this CD's title resulted in part from his frustration over the fact that many labels and commercial radio stations were choosing bloodless "elevator muzak" over more adventurous fusion. Consistently rewarding, Axe makes it clear that di Meola did the right thing by refusing to compromise.
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Revisión por Alex Henderson
A pesar de la agresión que su título implica, Kiss My Axe es el trabajo de un Al di Meola más suave y reflexivo, que se había visto muy influenciado por el sutil lirismo de Pat Metheny, pero que aún tenía un sonido muy reconocible y distintivo. El nuevo enfoque de Di Meola se resumió perfectamente cuando, en 1991, le dijo a Jazz Times que quería estar "encantado" por la música en lugar de deslumbrar a los oyentes con sus considerables habilidades. Di Meola aún tiene buena técnica, pero evita abrumarnos con ella, y muestra más moderación que antes. Una cosa que permanece es el gran interés del guitarrista en la música mundial: esta sesión imaginativa incorpora generosamente influencias latinas (brasileña, española, peruana y afrocubana), así como elementos de Oriente Medio y África. En esa entrevista del Jazz Times, di Meola explicó que el título de este CD se debió en parte a su frustración por el hecho de que muchos sellos y estaciones de radio comerciales estaban eligiendo el "muzak del ascensor" sin sangre en lugar de la fusión más aventurera. Consistentemente gratificante, Axe deja claro que di Meola hizo lo correcto al negarse a comprometerse.
Tracklist:
1 - South Bound Traveler - 5:22
2 - The Embrace - 5:48
3 - Kiss My Axe - 5:04
4 - Morocco - 7:40
5 - Gigi's Playtime Rhyme (Interlude #1) - 2:35
6 - One Night Last June - 8:20
7 - Phantom - 7:52
8 - Erotic Interlude (Interlude #2) - 2:32
9 - Global Safari - 5:42
10 - Interlude #3 - 2:00
11 - Purple Orchids - 6:45
12 - The Prophet (Interlude #4) - 1:18
13 - Oriana (September 24, 1988) - 5:19
Credits:
Acoustic Bass – Tony Scherr (tracks: 6)
Acoustic Guitar – Al Di Meola
Arranged By [Arrangements By] – Al Di Meola, Barry Miles
Co-producer – Barry Miles
Composed By – Al Di Meola (tracks: 2 to 6, 8 to 13), Barry Miles (tracks: 1), Chick Corea (tracks: 7)
Congas – Gumbi Ortiz (tracks: 2, 3, 6, 7, 11)
Design [Designed By] – Milton Glaser
Drums – Omar Hakim (tracks: 3, 9), Richie Morales (tracks: 2, 6)
Electric Bass – Anthony Jackson (tracks: 1, 3, 7, 9, 11), Tony Scherr (tracks: 2, 11)
Electric Guitar – Al Di Meola
Engineer – Frank Filipetti
Engineer [Additional] – Vittorio Zammarano
Engineer [Assistant] – Mark Mason, Todd Carpenter, Victor Deyglio
Engineer [Synclavier Programmer] – Dan Mockensturm
Executive-Producer – Kip Kaplan
Grand Piano – Barry Miles
Management [Live Computer Programmer Equipment Manager] – Sean Haines
Mastered By – Bob Ludwig
Other [Model] – Alia Jordan
Percussion – Arto Tuncboyaciyan
Photography By – Henry Wolf
Producer – Al Di Meola
Synthesizer [Synthesizers] – Rachel Z (tracks: 2, 3, 6, 7, 9, 11)
Voice – Arto Tuncboyaciyan (tracks: 1 to 4, 7, 13)
Notes
Pre-Production at: Platinum Post Studios, Orlando, Florida (September 1989)
Recorded in: New York City (May 1991)
Production Assistant: MacIntosh Computer Programming
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𝑳𝒐 𝒕𝒆𝒏𝒊́𝒂 𝒎𝒂́𝒔 "𝒅𝒆𝒍𝒈𝒂𝒅𝒊𝒄𝒐", 𝒂𝒔𝒊́ 𝒒𝒖𝒆: "𝙈𝙞𝙘𝙝"𝙞́𝙨𝙞𝙢𝙖𝙨 𝙜𝙧𝙖𝙘𝙞𝙖𝙨 𝙮 𝘼𝙗𝙧𝙖𝙯🤗. 🖖😷
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