Di Meola opens the door to unexpected voices, from Hancock's piano to Vai's electric shimmer.
The Infinite Desire stands out in Al Di Meola's catalog as an album built on collaboration rather than virtuosity alone. By 1998, Di Meola had spent decades establishing himself as a technically fearless guitarist, but this record takes a different approach — it invites other voices to shape the sound. The presence of Steve Vai on electric guitar is the immediate draw. Vai brings a completely different sensibility to the project, one rooted in heavy rock and synthesis rather than fusion jazz. Hearing these two guitarists work within the same album creates an interesting tension, a split between Di Meola's Latin-inflected jazz vocabulary and Vai's more theatrical, effects-driven world.
But the real surprise is Herbie Hancock on acoustic piano. Hancock appears on one piece, which means Di Meola has essentially created a moment where three generations and three distinct approaches to the instrument meet. Hancock's presence grounds the session in something classically rooted, a counterweight to both the fusion energy and the rock elements swirling around it. The album also features Pino Daniele on vocals, along with Mario Parmisano and Rachel Z handling keyboards and strings, so there's real texture here — this isn't a guitarist's vanity project where everything revolves around the six-string.
As a record, The Infinite Desire occupies an unusual space in Di Meola's work. It's not a solo showcase like his earlier guitar-driven records, nor is it a straight fusion project. Instead, it reads as Di Meola exploring what happens when you step back and let other musicians shape the direction. Whether that experiment fully pays off depends on what you're looking for, but the ambition to bring Hancock and Vai into the same room deserves credit.