Downbeat (Magazine) – October 1982

FrontCoverDownBeat (styled in all caps) is an American music magazine devoted to “jazz, blues and beyond”, the last word indicating its expansion beyond the jazz realm which it covered exclusively in previous years. The publication was established in 1934 in Chicago, Illinois. It is named after the “downbeat” in music, also called “beat one”, or the first beat of a musical measure.

DownBeat publishes results of annual surveys of both its readers and critics in a variety of categories. The DownBeat Jazz Hall of Fame includes winners from both the readers’ and critics’ poll. The results of the readers’ poll are published in the December issue, those of the critics’ poll in the August issue.


Popular features of DownBeat magazine include its “Reviews” section where jazz critics, using a ‘1-Star to 5-Star’ maximum rating system, rate the latest musical recordings, vintage recordings, and books; articles on individual musicians and music forms; and its famous “Blindfold Test” column, in a which a musician listens to records by other artists, tries to guess who they are, and rates them using the 5-star maximum rating system.


DownBeat was established in 1934 in Chicago, Illinois. In September 1939, the magazine announced that its circulation had increased from “a few hundred five years ago to more than 80,000 copies a month”, and that it would change from monthly to fortnightly from the following month. In 1972 the publisher of the magazine was Maher Publishers. In April 1979, DownBeat went to a monthly schedule for the first time since 1939.

In Summer 1960 DownBeat launched the Japanese edition.

DownBeat was named Jazz Publication of the Year in 2016, 2017, 2018, 2019, and 2021 by the Jazz Journalists Association.

Coming soon in this blog:

I think I bought the magazine because I was particularly interested in the article about Jimi Hendrix.

Downbeat … indispensable for understanding the history of Jazz !
























The back of the magazine:

The official website:

Al Di Meola – The Grande Passion (2000)

FrontCover1An acclaimed fusion guitarist, Al Di Meola first rose to prominence in the 1970s as a fiery jazz-rock pioneer before embracing a globally expansive mix of sounds. A key member of Chick Corea’s landmark fusion band Return to Forever, Di Meola established his reputation on many of the group’s classic dates before coming into his own on albums like 1977’s Elegant Gypsy and 1980’s Splendido Hotel. Along with tours in his all-star guitar trio with John McLaughlin and Paco de Lucia, Di Meola has collaborated on projects with luminaries like Stanley Clarke, Larry Coryell, Paul Simon, Luciano Pavarotti, Gonzalo Rubalcaba, Charlie Haden, and others. He has continued to expand his sound on albums like 1990’s World Sinfonia, 2011’s Pursuit of Radical Rhapsody, and 2018’s Opus, balancing his fusion roots with forays into Argentinian tango and Spanish flamenco, as well as Middle Eastern, North African, and Afro-Cuban traditions. (by Matt Collar)


World Sinfonía III – The Grande Passion is an album by jazz guitarist Al Di Meola that was released in 2000.

A rich, moody tapestry with flashes of fire, this CD incorporates elements of jazz, fusion, classical, Latin, tango, and Middle Eastern music. Sounding like the romantic soundtrack to an excellent foreign film, it’s full of splendid moments, like the wash of colors on “Double Concerto,” a sinuous composition by Al di Meola’s “musical father and friend,” Astor Piazzolla. Di Meola interprets two more beauties from the late Argentine tango legend — the tender “Soledad” and the churning, incendiary “Libertango,” where he uses MIDI technology to approximate the classic bandoleon sound — and offers six of his own. One of them, the title track, could be the most gorgeous, soulful melody of 2000, stated in ways alternately delicate and powerful; when it finally crescendos it’s like the ocean lifting, with the sun sparkling on it.

Al Di Meola01

His “Opus in Green,” written with fine Argentine pianist Mario Parmisano, is very Return to Forever-like. Di Meola has phenomenal technique and a gift for unhackneyed writing; his famous blistering runs are in here, but only when they further the music — not gratuitously added for their own sake. The arrangements by di Meola and Parmisano make optimal use of the Toronto Symphony Orchestra and soloists, creating an organically textured whole rather than the stringy soup that too often drowns such collections. (by Judith Schlesinger)


Gilad Dobrecky (drums)
Oscar Feldman (saxophone)
Al Di Meola (guitar, dumbek, percussion)
Michael Philip Mossman (trumpet)
Gumbi Ortiz (percussion)
Mario Parmisano (piano, synthesizer)
John Patitucci (bass)
Hernan Romero (guitar, charango, vocals)
Arto Tunçboyacıyan (vocals, percussion)
Toronto Orchestra conducted by Fabrizio Festa


01. Misterio (Di Meola) 7.54
“Double Concerto” (Ástor Piazzolla) – 5:55
“Prelude: Adagio for Theresa” (Di Meola, Parmisano) – 1:22
“The Grande Passion (Di Meola) – 9:04
“Asia de Cuba (Di Meola) – 8:57
“Soledad” (Piazzolla) – 7:37
“Opus in Green (Di Meola) – 10:18
“Libertango” (Piazzolla) – 5:06
“Azucar (Di Meola) – 3:12



More from Al Di Meola:

The official website: