Di Meola brings his electric guitar precision to Piazzolla's tango vocabulary, backed by players who understand both worlds.
This album sits in a particular corner of Di Meola's catalog—not an early statement, but a focused project built around one composer's legacy. Eight of the ten pieces come from Piazzolla, and Di Meola treats them seriously without pretending they need rescuing. The setup is lean: Di Meola on electric guitar, Arto Tuncboyacian on percussion, and Dino Saluzzi on bandoneon. That last choice matters. Saluzzi doesn't just accompany; he anchors the music in tango tradition while Di Meola's fluid, modernist guitar lines play against it. The bandoneon is the voice that knows where it comes from. Vince Mendoza added string arrangements to some tracks, which could have softened the edges, but instead they frame the core trio without crowding it.
What happened in the room was a negotiation between two approaches to the same material. Di Meola's technique is precise and uncluttered—he's not here to show off speed or flash, but to follow the melodic and harmonic logic Piazzolla built. Tuncboyacian's percussion provides texture and urgency without overwhelming; the drums stay restrained, letting the bandoneon and guitar carry the weight. The result is cleaner than a traditional tango ensemble but more grounded than Di Meola's usual fusion work. AllMusic gave it four stars, recognizing something that landed well enough: respect for the source material married to Di Meola's own sensibility.
This is a solid record for people who already know Di Meola and want to hear him step outside his usual territory, or for listeners curious about how a contemporary guitarist approaches a classical tango composer. It's not essential, but it's honest work.