Carlos Santana – Blues For Salvador (1987)

FrontCover1Because his pioneering Latin rock band shared his surname, it’s easy to conflate Carlos Santana with Santana, especially since the guitarist functioned as the group’s leader and spokesperson. Nevertheless, Carlos ventured outside of the confines of his namesake band to pursue adventurous collaborations with jazz musicians — his first non-band album, 1973’s Love Devotion Surrender, was recorded with John McLaughlin and Mahavishnu Orchestra; his second was made with Alice Coltrane — in addition to smoother material, like the kind showcased on 1983’s Havana Moon and 1987’s Grammy-winning Blues for Salvador. Throughout these solo excursions, as well as his work with his band, one thing remained constant: Carlos’ exceptional lead guitar work, characterized by its Carlos Santana02warm, saturated tone and fluid, lyrical phrasing. (by Stephen Thomas Erlewine)

Carlos Humberto Santana Barragán (born July 20, 1947) is an American guitarist who rose to fame in the late 1960s and early 1970s with his band Santana, which pioneered a fusion of rock ‘n’ roll and Latin American jazz. Its sound featured his melodic, blues-based lines set against Latin American and African rhythms played on percussion instruments not generally heard in rock, such as timbales and congas. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2015, Rolling Stone magazine listed him at No. 20 on their list of the 100 greatest guitarists. He has won 10 Grammy Awards and three Latin Grammy Awards, and was inducted along with his namesake band into the Rock and Roll Hall of Fame in 1998.

Blues for Salvador is a 1987 album by Carlos Santana, dedicated to his son Salvador. The record was released by Carlos Santana as a solo project, not with the Santana band. It won the 1989 Grammy Award for Best Rock Instrumental Performance, his first Grammy ever. (wikipedia)

Carlos Santana01

On previous “solo” albums, Carlos Santana had made noticeable stylistic changes and worked with jazz, pop, and even country musicians. On this, his fourth Carlos Santana release, the line between a “solo” and a “group” project is blurred; this record is really a catchall of Santana band outtakes and stray tracks. For example, included are an instrumental version of “Deeper, Dig Deeper” from Freedom, and an alternate take of “Hannibal” from Zebop!, as well as “Now That You Know” from the group’s 1985 tour.

Flexi promo disc:
Flexi Promo Disc

Given the variety of material, the album is somewhat less focused than most Santana band albums, but there are individual tracks that are impressive, notably “trane,” which features Tony Williams on drums. (Blues for Salvador won the Grammy Award for Best Rock Instrumental Performance). (by William Ruhlmann)


Sterling Crew (keyboards, synthesizer)
Alphonso Johnson (bass)
Graham Lear (drums, percussion)
Alex Ligertwood (percussion, vocals)
Buddy Miles (background vocals)
Armando Peraza (percussion, vocals)
Raul Rekow (percussion, vocals)
Carlos Santana (guitar)
Chris Solberg (guitar, vocals)
Chester D. Thompson (keyboards)
Orestes Vilató (flute, percussion, timbales, background vocals)
Greg Walker (vocals)
Tony Williams (drums)

01. Bailando/Aquatic Park (Santana/Thompson/Vilató) 5.45
02. Bella (Crew/Santana/Thompson) 4.30
03. I’m Gone (Crew/Santana/Thompson) 3.08
04. Trane (Santana) 3.11
05. Deeper, Dig Deeper (Crew/Miles/Santana/Thompson) 6.09
06. Mingus (Crew/Santana/Thompson) 1.26
07. Now That You Know (Santana) 10.28
08. Hannibal (Ligertwood/Pasqua/Rekow) 4.28
09. Blues For Salvador (Santana/Thompson) 5.57



More from (Carlos) Santana:

The official website:

Santana – Shango (1982)

FrontCover1.JPGShangó is the thirteenth studio album by Santana. The album reached number twenty two in Billboard 200 album charts. The single “Hold On” from the album reached number fifteen in the U.S. Billboard Hot 100 singles chart and number seventeen on Billboard’s Top Tracks chart. A second single from the album, “Nowhere to Run”, peaked at number sixty six on the Hot 100 chart and number thirteen on the Mainstream Rock chart and a third single reached number thirty four in the Mainstream Rock chart. (by wikipedia)

Carlos Santana once likened his penchant for exploring different musical genres to a mountain climber’s obsession with mountains. So long as part of a mountain range — or the musical equivalent — lies uncharted, there remains a challenge to be met. Over the course of fourteen albums, Santana and the various versions of his band have indeed explored many areas of contemporary music. The music on Shangó, much like the group’s 1981 smash, Zebop!, ranges from Latino chants and instrumentals to near-jazz — here, with a bit more synthesized polish to it — to rock, including an upbeat cover of Junior Walker’s “What Does It Take (to Win Your Love).” As usual, the percussion section churns impeccably and Santana’s guitar-playing shines.

There is a cost to Carlos Santana’s eclecticism, however, and it is evident on Shangó. Precisely because he has chosen no distinct stylistic route for his band, the music often lacks distinction altogether. At times, in fact, the playing seems so formulaic Santana could easily be mistaken for one of the faceless bands that now dominate the airwaves. Santana may be winning new fans and airplay with this sort of musical potpourri, but he’s not reaching any new musical peaks. (by Cabot Brown)


Shango is notable for featuring the return, in the role of co-producer and co-songwriter, of original Santana keyboardist Greg Rolie. The main producer, however, was Bill Szymczyk (James Gang, Eagles), who gave Santana an unusually sharp rock sound resulting in two more hit singles, “Hold On” (Number 15), and “Nowhere to Run” (Number 66), although the band once again slipped below the Top Ten and gold-selling status, with the album peaking at only Number 22, and even this was the highest Santana would get until Supernatural in 1999. (by William Ruhlmann)

One of the biggest critical complaints I keep hearing about the early 1980’s is that a perceived need to become a pop megastar was causing many legacy artists at that time,including Santana,to make contemporary musical concessions that just didn’t work for them. Luckily with Zebop Carlos Santana proved that his inner creative Miles Davis was working very much to his advantage: he could adapt his music to a new era and everyone involved to still play the way he played. After all his guitar,rather than himself, was the star of the show-leading everyone else to melodically and spiritually uplifting musical heights. Recording with the same lineup as the previous album this album upted the contemporary pop music ante as far as Santana could take it.


“The Nile” is a strong,bluesy rocker to open the album. “Hold On” is a well crafted and produced post disco funky pop number-reminiscent of Stanley Clarke’s Let Me Know You album of the same year,on which Carlos himself appeared. “Night Hunting Time” is a stark,electric piano led groove-a perfect example of nighttime funk and one of my personal favorites here. “Nowhere To Run” was the hit here,a shuffling synthesized new wave type song with highly spirited craft about it. “Nuava York” maintains that new wave synthesizer element on a classic style Santana band instrumental. “Oxun (Oshun)” is another favorite of mine-a catchy Afro Pop tune with a wonderfully mystical lyric. “Body Surfing” is probably my favorite here-adapting the cleanly played mainstream Promoposter.jpgpop/new wave sound of the Police with its glassy guitars and spirited dance/rock chorus.

On a version of Jr.Walker & The All Stars “What Does It Take”,Baker’s electric pianos play a counter melody that brings out the Hall & Oates style rock n soul side of Santana wonderfully. “Let Me Inside” is a heavy funk groove-maybe heavier then their late 70’s grooves and very naked and stripped down-slower than his but workable for the Prince audience. “Warrior” goes into the classic Santana mode before ending with the brief African styled title song. Very much in the spirit of jazz greats like Duke Ellington, Carlos Santana showcased an ability to update a basic instrumental framework with contemporary musical elements on this album. And its an approach he never abandoned. This would become very significant eighteen years later when his Supernatural album,essentially a late 90’s version of this exact albums ethic,became one of his best known and popular release. To me this album is a huge success for Santana and perhaps more significant to his musical career wise than some might think. (by Andre S. Grindle)


Richard Baker (keyboards)
Graham Lear (drums)
Alex Ligertwood (vocals, guitar)
David Margen (bass)
Armando Peraza (congas, bongos, vocals)
Raul Rekow (congas, vocals)
Gregg Rolie (organ, vocals)
Carlos Santana (guitar, vocals)
Orestes Vilató (timbales, vocals)


01. The Nile (C.Santana/Ligertwood/Rolie) 5.03
02. Hold On (Thomas) 4.29
03. Night Hunting Time (Brady) 4.49
04. Nowhere To Run (Ballard) 4.10
05. Nueva York (Santana/Lear/Rekow/Peraza/Ligertwood/Baker/Margen/Vilató/Rolie) 5.06
06. Oxun (Oshūn) (Santana/Ligertwood/Rolie/Lear/Peraza/Rekow/Vilató) 4.16
07. Body Surfing (C.Santana/Ligertwood) 4.29
08. What Does It Take (To Win Your Love) (Bristol/Bullock/Fuqua) 3.23
09. Let Me Inside (C.Santana/Solberg) 3.34
10. Warrior (Margen/Baker/Ligertwood/C.Santana) + Shangó (Rekow/Vilató/Peraza) 6.09




Santana – Amigos (1976)

FrontCover1Amigos is the seventh studio album by Santana. It generated a minor U.S. hit single in “Let It Shine” and was the band’s first album to hit the top ten on the Billboard charts since Caravanserai in 1972 (it ultimately reached gold record status). In Europe, the song “Europa” was released as a single and became a top ten hit in several countries.

New vocalist Greg Walker joined the group. It would be the last Santana album to include original bassist David Brown.

This album has been mixed and released in stereo and quadraphonic.^(by wikipedia)

By the release of Amigos, the Santana band’s seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. “Let It Shine” (number 77), an R&B-tinged tune, became the group’s first chart single in four years, and the album returned Santana to Top Ten status. by William Ruhlmann)


Amigos is the first Santana album that doesn’t attempt to break new ground. The several styles Carlos Santana has delved into over the past decade have been consolidated into a varied, multidimensional album. The early days of happy Latin rhythms, congas and catchy vocal hooks and choruses are represented not only by the not-quite-hidden picture of the band’s first album on the cover, but also by the very first strains of “Dance Sister Dance (Baila Mi Hermana),” which opens the album. If you’re more taken by the harder, brasher rock of Abraxas and Santana, “Take Me with You” and “Let Me” will suit you better. And the dreamlike, moody intensity of Caravanserai is evoked by “Europa (Earth’s Cry Heaven’s Smile).”

Throughout, Carlos Santana’s guitar wizardry remains as impressive as ever. He constantly darts in, out and through the dense rhythm section, displaying a mastery of lean rock, hot jazz and an occasional dash of quiet beauty. Most guitarists are hard pressed to come up with a single style; Carlos Santana has at least three of which he is master.

I hesitate to call this a safe album, but in a way, that’s what it is. Amigos is Santana at its most consistent — perhaps in an effort to win back listeners disaffected by the long delay between albums. For fans, it is indispensable. For new listeners, a treat. (by Alan Niester)


The inlets

David Brown (bass)
Leon “Ndugu” Chancler (drums, percussion, background vocals)
Tom Coster (keyboards, synthesizer, background vocals)
Armando Peraza (percussion, background vocals, vocal on 04.)
Carlos Santana (guitar, background vocals, percussion)
Greg Walker (vocals)
background vocals:
Ivory Stone – Julia Tillman Waters – Maxine Willard Waters

01. Dance Sister Dance (Baila Mi Hermana) (Chancler/Coster/Rubinson) 8.15
02. Take Me With You (Chancler/Coster) 5.27
03. Let Me (Coster/C.Santana) 4.51
04. Gitano (Peraza) 6.13
05. Tell Me Are You Tired (Chancler/Coster) 5.42
06. Europa (Earth’s Cry Heaven’s Smile) (Coster(C.Santana) 5.06
07. Let It Shine (Brown/Gardner) 5.43




This was tha last album with David Brown on bass:

David Brown

David Brown (February 15, 1947 – September 4, 2000)
He died on due to liver and kidney failure.

Santana – Santana III (1971)

FrontCover1Santana is the third studio album by Santana. The band’s second self-titled album, it is often referred to as III or Santana III to distinguish it from the band’s 1969 debut album. The album was also known as Man with an Outstretched Hand, after its album cover image. It was the third (and until the group’s 2016 reunion, the last) album by the Woodstock-era lineup, and it was also considered by many to be the band’s peak commercially and musically, as subsequent releases aimed towards more experimental jazz fusion and Latin music. The album featured two singles, “Everybody’s Everything”, which hit #12 in October 1971, and “No One to Depend On”, a staple in FM radio. The album also marked the addition of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.Santana is the third studio album by Santana. The band’s second self-titled album, it is often referred to as III or Santana III to distinguish it from the band’s 1969 debut album. The album was also known as Man with an Outstretched Hand, after its album cover image. It was the third (and until the group’s 2016 reunion, the last) album by the Woodstock-era lineup, and it was also considered by many to be the band’s peak commercially and musically, as subsequent releases aimed towards more experimental jazz fusion and Latin music.


The album featured two singles, “Everybody’s Everything”, which hit #12 in October 1971,[1] and “No One to Depend On”, a staple in FM radio. The album also marked the addition of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.
The original album was recorded at Columbia Studios, San Francisco, and released in both stereo and quadraphonic.
Santana III was also the last Santana album to hit #1 on the charts until Supernatural in 1999. According to Guinness Book of World Records 2005, this is the longest delay between #1 albums ever occurring. The original album was re-released in 1998 with live versions of “Batuka”, “Jungle Strut” and a previously unreleased song, “Gumbo”, recorded at Fillmore West in 1971 which features lead guitar solos by both Santana and Schon. /by wikipedia)


Singles from all over the world

Santana III is an album that undeservingly stands in the shadows behind the towering legend that is the band’s second album, Abraxas. This was also the album that brought guitarist Neal Schon — who was 17 years old — into the original core lineup of Santana. Percussionist Thomas “Coke” Escovedo was brought in to replace (temporarily) José Chepitó Areas, who had suffered a brain aneurysm, yet who recovered quickly and rejoined the band. The rest were Carlos, organist Gregg Rolie, drummer Michael Schrieve, bassist David Brown, and conguero Michael Carabello. “Batuka” is the powerful first evidence of something being very different. The band was rawer, darker, and more powerful with twin leads and Schon’s harder, edgier rock & roll sound paired with Carlos’ blend of ecstatic high notes and soulful fills.


It cooks — funky, mean, and tough. “Batuka” immediately transforms itself into “No One to Depend On,” by Escovedo, Carabello, and Rolie. The middle section is highlighted by frantic handclaps, call-and-response lines between Schon and Rolie, and Carlos joining the fray until the entire track explodes into a frenzied finale. And what’s most remarkable is that the set just keeps on cooking, from the subtle slow burn of “Taboo” to the percussive jam workout that is “Toussaint l’Overture,” a live staple in the band’s set list recorded here for the first time (and featuring some cooking Rolie organ work at its beginning). “Everybody’s Everything” is here, as is “Guajira” and “Jungle Strut” — tunes that are still part of Santana’s live show.


With acoustic guitars, gorgeous hand percussion, and Santana’s fragile lead vocal, “Everything’s Coming Our Way” is the only “feel good” track here, but it’s a fitting way to begin winding the album down with its Schon and Santana guitar breaks. The album ends with a completely transformed reading of Tito Puente’s “Para los Rumberos,” complete with horns and frantic, almost insanely fast hand drumming and cowbell playing. It’s an album that has aged extremely well due to its spare production (by Carlos and the band) and its live sound. This is essential Santana, a record that deserves to be reconsidered in light of its lasting abundance and vision. (by Thom Jurek)


José “Chepito” Areas (percussion, conga, timbales, drums)
David Brown (bass)
Mike Carabello (percussion, conga, tambourine, vocals)
Gregg Rolie (vocals, keyboards)
Carlos Santana (guitar, vocals)
Neal Schon (guitar)
Michael Shrieve (drums, percussion)
Greg Errico (tambourine)
Thomas “Coke” Escovedo (percussion, vocals)
Luis Gasca (trumpet on 09.)
Mario Ochoa (piano on 06.)
Rico Reyes (percussion, vocals on 06.)
Linda Tillery (background vocals)
Tower Of Power (horn section on 08.)


01. Batuka (Areas/Brown/Carabello/Rolie/Shrieve) 3.35
02. No One to Depend On (Carabello/Rolie/Escovedo) 5.31
03. Taboo (Areas/Rolie) 5.34
04. Toussaint L’Overture (Areas/Brown/Carabello/Rolie/Shrieve/C.Santana) 5.56
05. Everybody’s Everything (C.Santana/Brown/Moss) 3.31
06. Guajira (Areas/Brown/Reyes) 5.43
07. Jungle Strut (Ammons) 5.20
08. Everything’s Coming Our Way (C.Santana) 3.15
09. Para los Rumberos (Puente) 2.47
10. Batuka (Areas/Brown/Carabello/Rolie/Shrieve) 3.41
11. Jungle Strut (Ammons) 5.59
12. Gumbo (Santana/Rolie) 5.26

The three bonus tracks were recorded live at the Fillmore West, San Francisco, California, July 4, 1971




Various Artists – Jazz Fusion (1996)

FrontCover1Jazz fusion, fusion, or jazz rock is a musical genre that developed in the late 1960s from mixing funk and rhythm and blues rhythms with the electric instruments, amplified sound, electronic effects and playing styles of rock music together with jazz’s complex time signatures (which were derived from non-Western music) and jazz’s complex chord progressions and altered and extended chords. Fusion musicians typically create extended instrumental compositions based around a melody and a chord progression and lengthy solo improvisations. Fusion songs use brass instruments such as trumpet and saxophone as melody and soloing instruments. The rhythm section typically consists of electric bass (in some cases fretless), electric guitar, electric piano/synthesizer (in contrast to the double bass and piano used in earlier jazz) and drums. As with jazz forms that preceded fusion, all of the instruments–including the rhythm section instruments–are used as soloing instruments and all demonstrate a high level of instrumental technique.

FusionJazzThe term “jazz-rock” is often used as a synonym for “jazz fusion” as well as for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music. It is different from the UK Canterbury Scene’s progressive rock (“prog”) and other forms of prog-jazz fusion, in which extended prog instrumentals use improvisation and take on a jazz-influenced feel. After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s, in parallel with the development of a radio-friendly style called smooth jazz. Experimentation continued in the 1990s and 2000s. Fusion albums, even those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as a musical tradition or approach. (by wikipedia)

And this is just a sampler with Jazz Fusion … maybe it´s time for you to discover this kind of music … certainly not the worst idea. ! Most of the tracks were recorded during the Seventies … a golden decade for Fusion Jazz !

01. George Benson: Take Five (1974) (Desmond) 3.43
02. Herbie Hancock: Watermelon Man (1974) (Hancock) 5.00
03. Earth Wind & Fire: Love Music (1978) (Scarborough) 3.57
04. Astrud Gilberto: Zazueira (1971) (Ben) 3.42
05. Keith Jarrett: Common Mama (1972) (Jarrett) 8.12
06. Ned Doheny: To Prove My Love (1976) (Doheny) 4.50
07. Ramsey Lewis: Tequila Mockingbird (1977) (Dunn) 5.27
08. George Duke: Look Waht You Find (1979) (Duke) 4.46
09. Deodato: Super Strut (1973) (Deodato) 4.58
10. Stanley Clarke: Rock N Roll Jelly (1979) (Clarke) 2.36
11. Hubert Laws: Family (1980) (Laws) 7.30
12. Lee Ritenour: Theme From Three Day Of The Condor (1976) (Grusin) 4.07
13, Bill Withers: Use (1985) (Withers) 3.49
14. Santana: Tales Of Kilimanjaro (1981) (Santana/Peraza/Rekow/Pasqua) 3.29
15. Weather Report: Black Market (1976) (Zawinul) 6.14
16. Grover Washington Jr.: Love Like This (1992) (Roman/Cox) 4.49



Santana – Inner Secrets (1978)

FrontCover1Inner Secrets is the ninth studio album by Santana. It marks the start of the phase of Santana’s career where he moved away from the fusion of Latin, jazz, rock and blues that marked his previous records and began to move towards an album-oriented rock direction.

Some of the album’s tracks are covers. For example, the “Dealer” portion of “Dealer/Spanish Rose” is a cover of “Dealer” by Traffic. “One Chain (Don’t Make No Prison)” is a cover of a Four Tops song by the same name. “Well All Right” is a cover of the Buddy Holly song of the same name.

Oddly enough, the only two tracks on the album that were not released on a single are “Dealer/Spanish Rose” and “The Facts Of Love”. (by wikipedia)

SinglesSince he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana’s right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist/guitarist Chris Solberg and keyboardist Chris Rhyme. Despite the change, the band soldiered on, and with Inner Secrets, they scored three chart singles: the disco-ish “One Chain (Don’t Make No Prison)” (#59), “Stormy” (#32), and a cover of Buddy Holly’s “Well All Right” (#69), done in the Blind Faith arrangement. (There seems to be a Steve Winwood fixation here. The album also featured a cover of Traffic’s “Dealer.”) The singles kept the album on the charts longer than any Santana LP since 1971, but it was still a minor disappointment after Moonflower, and in retrospect seems like one of the band’s more compromised efforts. (by William Ruhlmann)

And I said … that´s wrong …. this is a brilliant album and songs like “Dealer/Spanish Rose”, “Well… All Right” and “Open Invitation” are one of the finest songs, Santana ever recorded !

Pete Escovedo (percussion)
Graham Lear (drums)
David Margen (bass)
Armando Peraza (percussion, background vocals)
Raul Rekow (percussion, background vocals)
Chris Rhyne (keyboards)
Carlos Santana (guitar, background vocals)
Chris Solberg (guitar, background vocals)
Greg Walker (vocals)

01. Dealer/Spanish Rose (Capaldi/C, Santana) 5.50
02. Move On (C.Santana/Rhyne) 4.27
03. One Chain (Don’t Make No Prison) (Lambert/Potter) 7.13
04. Stormy (Buie/Cobb) 4.45
05. Well… All Right (Petty/Holly/Allison/Mauldin) 4.09
06. Open Invitation (C.Santana/Lambert/Potter/Walker/Margen) 4.45
07. Life Is A Lady/Holiday (Lambert/C.Santana) 3.47
08. The Facts Of Love (Lambert/Potter) 5.28
09. Wham! (C.Santana/Lear/Peraza/Rekow/Escovedo) 3.24

LabelA1* (coming soon)

Santana – Abraxas (1970)

LPFrontCover1Abraxas is the second studio album by latin rock band Santana. Consolidating the interest generated by their first album, Santana (recorded in May 1969), and their highly acclaimed live performance at the Woodstock Festival in August 1969, the band followed-up with Abraxas in September 1970. The album’s mix of rock, blues, jazz, salsa and other influences was very well received, showing a musical maturation from their first album and refining the band’s early sound.

The title of the album, which features Mati Klarwein’s 1961 painting, Annunciation, on the cover, comes from a line in Hermann Hesse’s book, Demian, quoted on the album’s back cover: “We stood before it and began to freeze inside from the exertion. We questioned the painting, berated it, made love to it, prayed to it: We called it mother, called it whore and slut, called it our beloved, called it Abraxas….” The word “Abraxas” has use within Gnostic cosmology.

Santana01Abraxas features a mixture of Latin influences with familiar rock themes such as showcased electric guitar, organ, and heavy drums. The album also demonstrates Santana’s stylistic versatility, including tracks such as “Samba Pa Ti” (a classic slow-burning piece) and “Incident at Neshabur”, both being instrumentals. The latter has several rhythm and time signature changes consistent with its jazz feel. Latin percussion — congas, bongos and timbales, as well as a conventional rock drum setup, expanded Santana’s foray into Latin rhythm. The piece ‘Samba Pa Ti’ was originally recorded in the key of G, and is in fact two separate unfinished pieces which were combined to a single piece comprising a slow emotive first part followed by an extended play out in a faster tempo; This piece along with ‘Black Magic Woman’ attributed originally to Peter Green, helped underpin the truly unique blend of Latin American / Blues / Rock style created by the artist.

In 2003 the album was ranked number 207 on Rolling Stone magazine’s list of the 500 greatest albums of all time. (by wikipedia)

Santana02The San Francisco Bay Area rock scene of the late ’60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that’s often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-’90s, an album as eclectic as Abraxas would be considered a marketing exec’s worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente’s “Oye Como Va,” embracing instrumental jazz-rock on “Incident at Neshabur” and “Samba Pa Ti,” or tackling moody blues-rock on Fleetwood Mac’s “Black Magic Woman,” the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the ’70s are worth acquiring, but for novices, Abraxas is an excellent place to start. (by Alex Henderson)

José “Chepito” Areas (percussion, conga, timbales)
David Brown (bass)
Mike Carabello (percussion, conga)
Gregg Rolie (keyboards, (vocals)
Carlos Santana (guitar, background vocals)
Michael Shrieve (drums)
Alberto Gianquinto (piano on 04.)
Rico Reyes (percussion, background vocals)
Steven Saphore (tabla)
01. Singing Winds, Crying Beasts (Instrumental) (Carabello) 4.51
02. Black Magic Woman/Gypsy Queen (Green/Szabó) 5.22
03. Oye Como Va (Puente) 4.16
04. Incident At Neshabur (Instrumental) (Gianquinto/C.Santana) 4.57
05. Se a Cabo (Areas) 2.50
06. Mother’s Daughter (Rolie) 4.25
07. Samba Pa Ti (Instrumental) (Santana) 4.45
08. Hope You’re Feeling Better (Rolie) 4.11
09. El Nicoya (Areas) 1.30
Live at the Royal Albert Hall, London, England, April 14, 1970:
10. Se a Cabo (Areas) 3.47
11. Toussaint L’Overture (C.Santana/Brown/Rolie/Schrieve/Areas/Carabello) 4.52
12. Black Magic Woman/Gypsy Queen (Green/Szabó) 4.57



Carlos Santana – Abraxas Radio Interview (In The Studio Radio Show) 1995

FrontCover1Abraxas is the second studio album by latin rock band Santana. Consolidating the interest generated by their first album, Santana (recorded in May 1969), and their highly acclaimed live performance at the Woodstock Festival in August 1969, the band followed-up with Abraxas in September 1970. The album’s mix of rock, blues, jazz, salsa and other influences was very well received, showing a musical maturation from their first album and refining the band’s early sound. It was one of the most important album from Santana and from this time !

Here’s something short and sweet… For anyone who liked Santana’s Abraxas (1970), this one’s for you. Carlos Santana and former band mates Michael Shrieve and Gregg Rolie talk about this album.

Thanks to Dowling for sharing the interview at Dime.

01. Segment One 10.18
02. Segment Two 5.36
03. Segment Three 7.49
04. Segment Four 0.57
05. Promo 0.49



Annunciation - Mati Klarwein - 1961Annunciation – Mati Klarwein – 1961

Santana – Caravanserai (1972)

FrontCover1Caravanserai is the fourth studio album by Santana released in October 1972. It marked a major turning point in Carlos Santana’s career as it was a sharp departure from his critically acclaimed first three albums. Original bassist David Brown left the group in 1971 and was replaced by Doug Rauch and Tom Rutley, while original percussionist Michael Carabello left and was replaced by Armando Peraza. Keyboardist/vocalist Gregg Rolie, who was having a falling-out with Santana, was replaced by Tom Coster on a few songs. Caravanserai reached number eight in the Billboard 200 chart and number six in the R&B Albums chart in 1972.

CarlosSantana1972The sound contrasted greatly with Santana’s trademark fusion of salsa, rock, and jazz, and concentrated mostly on jazz-like instrumental passages. All but three tracks were instrumentals, and consequently the album yielded no hit singles. The album is the first among a series of Santana albums that were known for their increasing musical complexity, marking a move away from the popular rock format of the early Santana albums towards a more contemplative and experimental jazz sound. While Caravanserai is regarded as an artistic success, the musical changes that began on its release in 1972 marked the start of a slide in Santana’s commercial popularity. This album has been mixed and released in both stereo and quadraphonic.

It was the last Santana album to feature Gregg Rolie and Neal Schon, who went on to form Journey the following year. (by wikipedia)

Santana1972_01Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana’s high standards. Carlos Santana was obviously very hip to jazz fusion — something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster’s highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana’s finest accomplishments. (by Alex Henderson)

José “Chepito” Areas (percussion)
James Mingo Lewis (percussion, vocals on 06., piano on 09.)
Douglas Rauch (bass on 02. – 06., guitar on 02. + 03.)
Gregg Rolie (keyboards, vocals)
Tom Rutley (bass on 01., 06. + 08. – 10.)
Carlos Santana (guitar, vocals, percussion)
Neal Schon (guitar)
Michael Shrieve (drums, percussion)
Hadley Caliman (saxophone on 01., flute on 10.)
Tom Coster (piano on 09.)
Wendy Haas (piano (on 01. + 08.)
Armando Peraza (percussion on 09. + 09.)
Rico Reyes (vocals on 06.)
Douglas Rodrigues (guitar on 02.)
Lenny White (castanets on 06.)

01. Eternal Caravan of Reincarnation (Rutley/Schon/Shrieve) 4.28
02. Waves Within (Rauch/Rolie/C.Santana) 3.54
03. Look Up (to See What’s Coming Down) (Rauch/Rolie/C.Santana) 3.00
04. Just In Time To See The Sun (Rolie/C.Santana/Shrieve) 2.18
05. Song Of The Wind (Rolie/C.Santana/Schon) 6.04
06. All The Love Of The Universe (C.Santana/Schon) 7.40
07. Future Primitive (José Areas, Mingo Lewis) 4.12
08. Stone Flower (Jobim/C.Santana/Shrieve) 6.15
09. La Fuente del Ritmo (Lewis) 4.34
10. Every Step Of The Way (Shrieve) 9.05




Santana – Marathon In Kansas City (1979)

FrontCover1While Santana’s albums in the late ’70s – Inner Secret (1978) and Marathon (1979) – weren’t huge commercial hits, live, Santana (the band) were still rocking away.

Interesting that while this tour was to promote the Marathon album, they left out the single, You Know That I Love You, from the setlist.

“This show has been [at Dime] twice but NOT in this quality!”

Thanks to the person who posted this show at Dime.

Recorded live at the Uptown Theater, Kansas City, MO KS; September 2, 1979.
Very good soundboard.

Graham Lear (drums)
Ligertwood (vocals)
David Margen (bass)
Alan Pasqua (keyboards)
Armando Peraza (congas, bongos)
Raul Rekow (drums)
Carlos Santana (guitar, vocals)
Chris Solberg (guitar)

01. Marathon/Well All Right (Santana/HollyPetty/Allison/Mauldin) 5.07
02. All I Ever Wanted (Ligertwood/C.Santana/Solberg) 4.25
03. Black Magic Woman/Gypsy Queen (Green/Szabo) 6.45
04. Hard Times (Ligertwood/Margen/Pasqua) 5.13
05. Europa  (C.Santana/Coster) 7.46
06. Batuka (Areas/Brown/Carabello/Rolie(Shrieve) 1.42
07. No One To Depend On (Escovedo/Rolie/Carabello) 3.16
08. Savor  (C.Santana/Rolie/Brown/Shrieve/Areas) 3.47
09. Toussaint L’Overture (Areas/Brown/Carabello/Rolie/C.Santana, Shrieve) 6.48
10. Aqua Marine (Pasqua/C.Santana) 6.46
11. Lightning In The Sky (C.Santana/Solberg) 4.29
12. Open Invitation (C.Santana/Lambert/Potter/Walker/Margen) 5.02
13. I Want You (Brown) 8.24
14. Stand Up/Runnin’ (C.Santana/Solberg/Margen) 6.54
15. Soul Sacrifice (C.Santana/Rolie/Brown/Malone) 10.42
16. She’s Not There (Argent) 5.14
17. Incident At Neshabur (Gianquinto/C.Santana) 8.42
18. Transcendance (C.Santana) 6.25
19. Band introductions 2.25
20. Evil Ways (Henry) 5.29