![]() Also, di Meola's playing became more unabashedly fluid in the '90s on the closest thing to a straight-ahead track, "Invention of the Monsters," di Meola's electric guitar curls intricately and swingingly around the bass of Tom Kennedy, Ernie Adams' drums, and some synthesized brass. "Shaking the Spirits" in particular is a fascinating piece, loaded with dazzling Middle Eastern and African colorations, and the sampled trumpet sound he gets on "Valentina" is astoundingly lifelike. Indeed, he makes marvelously musical use of the new devices, creating sensuous, exotic layers of sound that lie easily upon the ear, without much of the usual harshness of digital instruments generated by those who haven't bothered to master them. With the help of new generations of guitar synthesizers and samplers, The Infinite Desire finds a mature, lyrical, more expressive Al di Meola casting his lot with Telarc, which until the late '90s had concentrated its attentions upon aging acoustic jazzers.
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