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


Santana – Live at Waikiki Shell – Hawaii (1970)

FrontCover1On October 26, 1970, Santana released their classic Abraxas album. It was recorded from April 17 to May 2, 1970 so at this show, the group was fresh from the recording session and was raring to give the new songs a go, songs like Se A Cabo, Black Magic Woman, Oye Como Va and Hope You’re Feeling Better.

This show has appeared as Aloha From Hawaii (Vintage Masters) and there is an incomplete 30-minute version that’s been circulating. This is the 55-minute show. Thanks to wildbluesage (and HermanLR) for sharing the tracks at HungerCity.

Uploader’s notes: “The CDR I received contained some spaces between the tracks. I’ve tried to reduce the hiccups as much as possible. Overall, I am pretty satisfied, though the result is definitely not flawless. Evil Ways already starts at the end of Toussaint…”

Recorded live at Waikiki Shell, Honululu, Oahu, Hawaii; May 22, 1970
A very good soundboard recording


Jose “Chepito” Areas (percussion)
David Brown (bass)
Michael Carabello (percussion)
Gregg Rolie (keyboards, vocals)
Carlos Santana (guitar)
Michael Shrieve (drums)

01. Se A Cabo (Areas) 3.56
02. Black Magic Woman/Gypsy Queen (Green/Szabo) 5.04
03. Savor/Jingo (Olatunji/Santana) 8.11
04. Oye Como Va (Puente) 4.58
05. Toussaint L’Overture/Evil Ways (Areas/Brown/Carabello/Rolie/Santana/Shrieve/Henry) 5.01
06. Evil Ways (C.Henry/S. Henry/Oden/Zack ) 3.11
07. Treat (Areas/Brown/Carabello/Rolie/Santana/Shrieve) 6.08
08. Gumbo (Rolie/Santana) 4.56
09. Waiting (Areas/Brown/Carabello/Rolie/Santana/Shrieve) 4.30
10. Hope You’re Feeling Better (Rolie) 4.25
11. Conquistadore Rides Again (Hamilton) 4.06

** (coming soon)