Carlos Santana

Mexican-born Carlos had gravitated to San Francisco with the rise of the "hippie" culture in the mid-Sixties. There, in 1966, he formed a band with three other musicians, eventually calling themselves the Santana Blues Band. By January of 1967 the band had built up enough notoriety and following performing in and around the Bay Area that promoter Bill Graham recruited them to audition for a regular appearance schedule at his Fillmore Auditorium--for which they were hired. In June Graham fired the expanding band from the Fillmore gig for attendance irregularities--which prompted Carlos to fire everybody in the band in order to start from scratch--to hire "serious musicians" who would take their commitment and responsibilities more seriously.
     The newly revamped Santana band was helped to secure a higher-profile place in the performance order for the Woodstock Music & Art Fair in the beginning of August, 1969. Their now-legendary performance (well-documented in the many movie versions) incorporated all but two of the songs they had recorded in May for their debut album which was then released of their eponymously-titled debut album on August 22--only a week after the Woodstock event. (Talk about propitious timing!)

In virtually all modern-day interviews with Carlos (more often than not with Carlos and Michael Shrieve) it becomes obvious how essential and integral drummer Michael Shreive's friendship and music mentorship had been to Carlos' own ever-expanding musical horizons. Michael was an avid and highly-engaged collector and of all types of music, new and old, and was always introducing his latest finds to Carlos. This pattern led to Carlos' exposure to the music of both John Coltrane and jazz in general as well as the new things happening in Jazz-Rock Fusion--especially with the sudden burst onto the scene of John McLaughlin's new Mahavishnu Orchestra in the Fall of 1971--to which Carlos felt an immediate and insatiable fascination and draw--even going so far as following the band around in order to attend several of their concerts in 1972. His awe and reverence for his new-found guitar god, Mahavishnu John McLaughlin led to a fan-boy type relationship, meeting, devotion, and friendship--one that led to the peace-seeking spiritually-seeking Santana to become a temporary student, follower, and devotee of McLaughlin's guru, Sri Chimnoy as well as the collaborative recording of the album Love Devotion Surrender which blended significant elements of both the Santana and Mahavishnu Orchestra through the cooperation of members from both bands (Doug Rauch, Armando Pereza, and James "Mingo" Lewis from Santana, Billy Cobham and Jan Hammer [on drums/percussion] from The Mahavishnu Orchestra as well as experienced and enthusiastic Latin drummer/percussionist Don Alias and guest organist and long-time friend and collaborator of John's, Larry "Khalid Yasin" Young [who had recently undergone a conversion to the Islamic faith]). Love Devotion Surrender came as a result of Carlos' near-obsession with all things Mahavishnu as well as some tour dates on which the two bands shared the stage, but it was the Caravanserai album--with months of preparatory live stage performances in which the inspired band with its ever-expanding membership (including new members, Doug Rauch and Doug Rodrigues, who had been freshly recruited from New York City by way of The Voices of East Harlem troupe) worked on the material that would end up as two distinct themes or styles for the upcoming recording sessions--that really put on display Carlos and Michael's new vision for the band's new direction. The Latin- (and Prog-) oriented Jazz-Rock Fusion music of Caravanserai continued through 1974 with the successive album releases of Welcome, Lotus (a triple live album) and even Borboletta (despite the departure of bass phenom and significant song-writing contributor Doug Rauch).
     The Coltrane-Chimnoy connection also led to Carlos' friendship and eventual work with the deceased saxophone master's widowed wife, Alice Coltrane. (In 1974 Columbia Records released the album Illuminations as the culmination and representation of the duo's musical and spiritual collaboration. Though it's not really a Jazz-Rock Fusion album, it has enough jazz in it to make me want to include it on this page.) Though Carlos and wife Deborah remained committed and involved devotees of Sri Chimnoy until a falling out in the early 1980s, Carlos only put together three albums in that time that come from that perspective of devotion to a higher cause or purpose.

 

SANTANA Caravanserai (1972)

Caravanserai is the culmination of a synthesis, if you will, of so many things coming together for Carlos and Michael Shrieve. Ever the explorer of new musics and new books, Michael was getting into spiritual exploration through Eastern teachers, at this point, mostly Parahamansa Yogananda, and, of course, he was sharing them with his brother Carlos. At the same time, they had both just had their ears and minds blown by hearing John McLaughlin's Mahavishnu Orchestra's The Inner Mounting Flame and seeing them live in concert. For a time, in fact, they became groupies: attending as many Mahavishnu concerts as they could; feeding off of the energy and expanding their minds and instrumental landscapes through the sonic and spiritual force of the Mahavishnu and the whole band's stunning virtuosity. Carlos and Michael knew it was time to evolve.

     Within this same time frame, Carlos had seen and heard Doug Rauch and Doug Rodrigues perform as musicians for The Voices of East Harlem. He was immediately smitten with Doug Rauch's Mahavishnu-like style and enthusiasm, so he asked if he'd like to start joining his "new band" for some jam sessions--the result being an extensive road trip of constant touring, constant experimentation with a new more improvisational-oriented "live jam band" style of making music "in the moment." Michael and Carlos both credit Doug Rauch's infectious enthusiasm and endless flow of musical ideas for becoming a driving force behind the realization of this album project as well as for the preceding practice tour and following world tour.

     The newly-directed band toured extensively, enjoying their time together on and off stage, while at the same time trying to hone in and frame up some songs for a new album. They were eventually able to get some great, collaborative material to shape up for the making of what would become Caravanserai. The album is intentionally broken up into two very distinct sides, both flowing from opening notes into and through the music to a cohesive and comprehensive conclusion at each end. Side One is considered the Spiritual Side whereas Side Two being the "Percussionists Side."

 
Line-up / Musicians:
- Carlos Santana / lead guitar, percussion, vocals (6), co-producer
- Neal Schon / guitar (1,3-6,8-10)
- Doug Rauch / guitar (2,3), bass (2-6)
- Gregg Rolie / organ, piano (6)
- Tom Rutley / acoustic bass (1,6,8-10)
- Michael Shrieve / drums, co-producer
- Jose 'Chepito' Areas / timbales, congas (7), bongos (8)
- James Mingo Lewis / percussion, congas (2,4-10), bongos (7), piano (9), vocals (6)
- Armando Peraza / percussion, bongos (9)
With:
- Rico Reyes / vocals (6)
- Douglas Rodrigues / guitar (2)
- Wendy Haas / piano (1,8)
- Tom Coster / electric piano (9)
- Lenny White / castanets (6)
- Tom Harrel / orchestral arrangements (10)

1. "Eternal Caravan of Reincarnation" (4:28) crickets and Hadley Caliman's solo saxophone signal the dawning of a new era. About halfway in, the band joins in to provide a gentle, welcoming instrumental intro to the soul-augmenting jazz that is the new orientation of Carlos, Michael, and all of their new band members. (9.25/10)

2. "Waves Within" (3:53) Carlos and Neal Schon (yes, that Neal Schon!) exchanging emotional and electrical guitar-fire (with newcomer bass-player Doug Rauch also on rhythm guitar!) Incredible earworm melodies created repeated seven-step chord progression. A song that is credited to Doug Rauch and Gregg Rollie. (10/10)

3. "Look Up (To See What's Coming Down)" (2:59) the funk is also here: the percussion and bass certainly let you know it! Great guitar interplay between Neal, Doug, and Carlos. Another song credited to Doug Rauch and Gregg Rollie (as well as Carlos) and including Doug's guitar assistance. (9.25/10)

4. "Just In Time To See The Sun" (2:19) the jamming becomes more insistent: power chords and relentless rhythm play driving this one along. Carlos's singing is okay but I know how important his spiritual message is, so it rings true. (8.875/10)

5. "Song of the Wind" (6:02) great little tune carried by the bouncy organ and steady percussion. What beautiful music--and beautiful guitar play: melodic as hell and so emotional! The other band members must have been so inspired and confident while listening to Carlos' passion: no wonder their subtle flourishes and nuances are so perfect! Neal Schon is listed as one of the authors of this one. (9.75/10)

6. "All the Love of the Universe" (7:36) the last song on Side One is oriented like a Sly & The Family Stone jam song with Chicago-like whole-band choral vocal singing. (They're really not very good as a choir). Doug Rauch's rapid fire funk bass sounds like a cross between Percy Jones' machine gun and a Disco bass. Interesting song with a lot of energy--both kinetic and potential--but probably my least favorite song on the album. (13/15)

Side Two is often referred to as "the percussionists' side."

7. "Future Primitive" (4:12) opens with an atmosphere created by space-synths (uncredited but probably provided by Michael Shrieve) that is really just a setup (and, later, underlying texture) for percussionists José "Chepito" Areas and Mingo Lewis to jam in some kind of Cuban polyrhythmic language. (4.5/5)

8. "Stone Flower" (6:14) Carlos and Michael adopt this Antonio Carlos Joabim instrumental and put their own lyrics to it (and sing it: together). Yes, the melody does sound like it was lifted from some of the recent Brazilian-based bassa nova pop songs that had been seeping into American pop radio but that's just exemplifies the broad range of music that Carlos and especially Michael were listening to at that time. Great "Nature Boy"-inspired solo from Carlos. Also, acoustic bass is used on this one instead of Doug's funky electric--here provided by Tom Rutley. Man that organ and expanded lineup of percussionists really brings this to life! (8.875/10)

9. "La Fuente del Ritmo" (4:33) a wild ride that is driven by pure Latin rhythms as written and led by Mingo Lewis. The song also introduces two new band members who would become fixtures for a while in percussionist Armando Peraza and keyboard artist Tom Coster. (9/10)

10. "Every Step of the Way" (9:04) this Michael Shrieve song opens with the total feel of a Miles, Herbie or Mahavishnu song. (It actually sounds a lot like the music the band would issue on their next album, Love Devotion Surrender, a collaboration with John McLaughlin and some of the Mahavishnu members). The nuclear detonation occurs at the three-minute mark, unleashing a barrage of energetic play from every goddam member of this band--including some who were not members (horns ! (I agree with ProgArchives admin &. reviewer Sean Trane: "Every Step of the Way" escorts the listener to a divine orgasm.) Turn this one up to 11! It deserves a 6! One of Jazz-Rock Fusion's all-time great songs! (21/20)

Total Time: 51:20

It is so exciting to discover albums from 35-40 years ago that I'd never heard before and find myself totally blown away by the 'new' music I hear. Again, thank you Max and ProgArchivists: my world of music has never been so blown open. Caravanserai is an album whose first listen flooded me with such nostalgia; I had never before realized how much Carlos' guitar playing and his Latin rhythms and amazing organists influenced my core musical likes and values until I listened to this album. Hearing "Waves Within" I was (and am each time I listen to it) overcome with a flood of emotion taking me back to the Eden that was my formative pre-teen years.
     While I understand the derogatory comments bestowed upon the atmospheric "introludes" ("Eternal Caravan of Reincarnation" and "Future Primitive"), I love them and find them essential to the spiritual journey Santana is taking us on.
     Through the years I have enjoyed many of the singers and lyrics of Santana songs, however, I quite agree that on this album their presence are, overall, IMHO, out of place with and even detract from the spirit of the rest of the music. And while many of Carlos' extended solos are backed by simple two-chord repetitions, the band is always jamming their hearts out: they're in the same cosmic groove that allows Carlos to soar--and soar he does: The man is a true master of 'stumbling' upon incredibly catchy, melodic riffs while negotiating the fret board at seeming break-neck speed. Amazing talent. Truly a god channeling the divine!
     A wonderful album with outstanding work from Michael Shrieve, Neal Schon, Mingo Lewis and Greg Rolie--not to mention the Devadip and the new kid on the block, Doug Rauch!

5 star songs: "Waves Within," "Look Up (To See What's Coming)," "Song of the Wind," "Every Step of the Way."

94.09 on the Fishscales = A/five stars; a true masterpiece and shining beacon of light from the young and still-forming Jazz-Rock Fusion movement--and one of my Top 20 Jazz-Rock Fusion Albums from prog's "Classic Era." One of the few concert tours for which I wish I had been a "Deadhead"/groupie.

CARLOS SANTANA and MAHAVISHNU JOHN MCLAUGHLIN Love Devotion Surrender (1973)

In 1973 received this album in the mail as the Columbia Record Club's "Record of the Month." I'd heard Santana's hits--even the long versions on our local album-oriented FM station, WABX--and I was already a big fan of Latin rhythms due to my dad's joyful obsession with Herb Alpert & The Tijuana Brass and Sergio Mendes & Brazil '66. but I was not, by any means, prepared for what Love Devotion Surrender unleashed. (At this point in my life [in 1973 I was turning 15] I'd never even heard of John Coltrane much less heard any of his music.) Even when I saw John McLaughlin with his Mahavishnu Orchestra on Don Kirshner's late night television show, Rock Concert, doing things on his double-neck electric guitar that I didn't understand I couldn't comprehend what I was seeing. I think this is why this album didn't quite click with me for a while. I listened to it--a lot. (I didn't own many albums at this time--though I had what I thought was a pretty impressive collection of Soul/R&B 45s). I always thought that I was listening to two guitarists of two completely different levels of competency. I didn't know Coltrane or his works and had only begun to know some jazz and fusion but had found an implicit love for the guitar, guitarists, and their solos (Jeff Beck mostly). So I stuck with it.

     After the 70s, the album pretty much fell off my radar. Until a few years ago, I don't think I'd heard it in over 30 years. Now I listen to it with a sense of awe and wonder that makes me feel young again. I feel so fortunate that we have this testament to the genius and inspiration of all of these masters in their peak years. Larry Young. Dougie Rauch. (Both taken from us far too soon--and both among my very favorite instrumentalists from the 1970s.) Billy Cobham. Don Alias. Michael Shrieve. Mingo Lewis. Jan Hammer.
     Now I find myself listening to it multiple times per month. It is, to my mind, to my heart, one of the peak achievements in jazz-rock fusion collaborations. Yes, I wish I had more control of the sound mix (I want so badly to listen to JUST Dougie Rauch and JUST Larry Young and JUST Billy Cobham), but I just feel so fortunate to have it all that I won't complain. For people in the know, Larry Young's organ play magically provided a bridge between the two guitarists and their individual styles (as he'd done so magically between Tony Williams and John McLaughlin on the landmark 1969 Emergency! album) with Larry's two hands somehow representing each one of the leaders. But this is difficult for the unschooled, ignorant listener to pick up due partly to the often poor mix of the individual instrumentalists.

     In response to the criticism of the album's music selection, regurgitation of already been done songs and themes, one- and two-chord song structures, and "faux" or "fad" spiritualism, I can only say that there is definitely something so much bigger being expressed here than composition and : there is virtuosity feeding virtuosity to higher heights, there is what feels to me like genuine expression of genuine feeling, genuinely ecstatic joy, whether its origin be of spiritual nature, drug or alcohol use, or sleep deprivation, interpersonal respect, I don't care: I cannot help but repeat how fortunate we are to have these sessions documented and preserved. It is proof of the historic meeting and melding of two tsunamic forces of nature in the forms of Santana's Caravanserai lineup and the near-to-break up first Incarnation of the Mahavishnu Orchestra. The album (and my admiration for both John McLaughlin and Carlos Santana) even prompted a visit to Sri Chimnoy's vegan restaurant in Haight Ashbury the first time I ever visited San Francisco.   

Line-up / Musicians:
- Carlos Santana / acoustic & electric guitars
- John McLaughlin / acoustic & electric guitars, piano
With:
- Khalid Yasim (Larry Young) / organ
- Doug Rauch / bass
- Billy Cobham / drums
- Don Alias / drums, percussion
- Jan Hammer / drums
- Michael Shrieve / drums
- Armando Peraza / congas
- James Mingo Lewis / percussion (unconfirmed)

1. "A Love Supreme" (7:48) a masterful condensed rendition of the Coltrane classic that does a great job of capturing the essence of the original while being elevated and celebrated by these two spiritually-infused guitarists. The opening alone does an amazing job of announcing what the listener is in for: not your typical Santana album! Organist Khalid Yasim (formerly known as "Larry Young") gets the honor of playing a little while the expanded band takes their time gelling and grooving. Then it's off to the races as John and Carlos take turns of about 10-to-20 seconds each in a noncompetitive duel of ascendent transcendence. The choral chant of the title begins in the sixth minute while Khalid gets another chance to show off his amazing skills. (14/15)

2. "Naima" (3:09) acoustic guitar duets don't get much more beautiful than this. Beautiful respite between the two bookends of Side One. (9.25/10)

3. "The Life Divine" (9:30) the drumming and percussion play on this one is alone worth the price of admission, but then you get John and Carlos--and Larry! and Armando and Mingo--and "the note"! (at the end of the fourth minute). The best engineered (though still lacking) and most fully-invested feeling song of the album. The band was obviously warmed up by this point--and the soloists on firing on all cylinders. (19.5/20)

4. "Let Us Go into the House of the Lord" (15:45) John's domination of the song's first four-minutes is a bit excessive (and selfish?) but he was probably just in "the zone." After this, the song just really kicks in with everybody just smooth-groovin' beneath and with Carlos--until the second half of the sixth minute when Khalid, Billy, Shrieve, and the percussionists start to play. When John re-takes the lead at the end of the seventh minute it is tasteful and only to open the way for Khalid to take off. What a solo! (Too bad his volume is mixed beneath that of the percussion and guitarists playing rhythm chords.) With all that Afro-Latin rhythm around him he probably couldn't help being inspired. It's not until well into the 12th minute that the two guitarists start "duelling" i.e. playing off one another--both displaying incredible moments of tenderness and melodic beauty in their still-fiery play. I really like the extended/prolonged ending. Not the best song on the album--nor the best sound engineering--but still a treasure for capturing these two at this particularly numinous point in both of their lives. (28/30)

5. "Meditation" (2:45) John on gentle piano chord play while Carlos expresses his profound inspiration and gratitude with a steel-string acoustic guitar. I simply can't find a flaw with this one--nor a reason to devalue it as less than a full, completed song composition. (10/10)

Total Time 38:57

I love the beautiful two acoustic pieces--especially John's "Meditation"--and "Let Us Go Into The House of The Lord" may just be my favorite jazz-fusion jam of all-time. And give me those Santana conga and bass lines all day long! I feed off of them!

95.0 on the Fishscales = A/five stars; I have absolutely no reservations about proclaiming this album, flawed as it may be, a masterpiece of progressive rock music and a pinnacle and landmark of the jazz-rock fusion "movement." Another one of my all-time Top 20 Jazz-Rock Fusion albums from the "Classic Era."

SANTANA Welcome (1973)

After Buddy Miles Live! After Caravanserai. After Love Devotion Surrender (with John McLaughlin and the remnants his now-fractured first lineup of The Mahavishnu Orchestra).  This album came before Illuminations (with Alice Coltrane), and before the three-disc live album, Lotus. This is Santana mid-jazz-rock fusion, the fusion lineup at its very best, but trying to orient themselves a little more toward radio-friendly songs. I'm shocked that this album did not spawn three or four radio hits. Recorded during several sessions in 1973 (from April to June) in CBS studios, it was released by Columbia Records on November 9, 1973.

Line-up / Musicians:
- Leon Thomas / vocals (2,4,7), whistling (5)
- Carlos Santana / electric & acoustic (2) guitars, bass & kalimba (6), percussion (1,7), vocals (2)
- Tom Coster / Hammond (2,4,5) & Yamaha (1,4,6,8) organs, electric (3,7) & acoustic (6,8,9) pianos, percussion (3), marimba (6), string co-arranger (7)
- Richard Kermode / Hammond (1,3,8), electric (2,4-7,9) & acoustic (5) pianos, Mellotron (1), percussion (3), marimba (4), shekere (4,6)
- Doug Rauch / bass
- Michael Shrieve / drums
- Jose 'Chepito' Areas / timbales (2,3,6,7), congas (3), percussion (3,9)
- Armando Peraza / percussion (1,3,9), congas (2,4-8), bongos (4), cabasa (5)
With:
- Flora Purim / lead vocals (5)
- Wendy Haas / vocals (2,4)
- John McLaughlin / guitar (8)
- Douglas Rodriguez / rhythm guitar (4)
- Joe Farrell / flute solo (4)
- Bob Yance / flute (4,5)
- Mel Martin / flute (4,5)
- Jules Broussard / soprano saxophone (6)
- Tony Smith / drums (3)
- Alice Coltrane / arranger (1)
- Greg Adams / strings co-arranger, orchestrator & conductor (7)

1. "Going Home" (4:10) opening with the sustained organ strains familiar to us from Caravanserai, the song slowly morphs into a church-like sound before a second organ programmed into a kind of bassoon sound joins in with flourishes from the percussionists and drums embellish and amplify. The melody coming from that bassoon-organ sounds Scottish. More like a dramatic intro than a real song. (8.75/10)

2. "Love Devotion And Surrender" (3:36) a mellow, almost relaxing opening to a song Carlos created in reference to (and reverence of) his sessions of the previous months that culminated in the creation of the Love Devotion Surrender album with John McLaughlin and half of his fractured Mahavishnu Orchestra. put on their collaborative album of earlier in the year. Great vocals from Carlos,  Leon Thomas, and especially, Wendy Haas (who sounds a lot like Anneke Van Giersbergen). (8.875/10)

3. "Samba De Sausalito" (3:10) an awesome Latin percussion-and-bass-driven jam in the tradition that Carlos and his band had been extablishing since the opening number of their debut album, now five years before. Keyboards present the melodies above the hard work of the rhythm section. (8.875/10)

4. "When I Look Into Your Eyes" (5:50) opening up sounding like a MOTOWN classic from the FOUR TOPS or THE TEMPTATIONS, the mood changes as everybody steps in line to support singer Leon Thomas' classic soul performance. The flutes and percussionists are wonderful as is Doug Rauch on bass (of course). Leon's "underwater" vocalese alongside Wendy Haas' Motown b vox are weird but awesome--and Michael Shrieve is great, too. (9/10)

5. "Yours Is The Light" (5:45) Latin Canterbury?!! The female "Northettes"-like group vocals from Flora Purim. Also, great piano, bass, and Latin percussion interplay holding down the fort while Carlos delivers one of his best solos ever--followed by some endearing reverb-vocalese scatting from Flora over the last minute or more of the song. An absolutely delightful and amazing song. I love Richard Kermode's Chick Corea-like piano work. My favorite song on the album. (10/10)

6. "Mother Africa" (5:54) a Herbie Mann composition on which Carlos' bass and kalimba working within the weave of multiple percussionists including Chepito Areas on timbales, Armando Peraza on congas, Richard  Kermode on shekere, Tom Coster on marimba as well as Jules Broussard on soprano sax. Sounds like a song that could very well have inspired GINO VANNELLI's title song from his upcoming album, Storm at Sunup. Coster's piano in the second half and electric piano work are awesome. Kermode's Yamaha organ lead is the only weird/out-of-place thing. (9/10)

7. "Light Of Life" (3:48) Greg Adams orchestral support is absolutely brilliant--almost Barry White-ish--before funk rhythm section and Leon Thomas set themselves up and fly along. Great Fender Rhodes and guitar work but listen to Doug Rauch's bass! Leon and the keyboardists are awesome, but that presence of orchestra is, for me, incredible. Another top three song. (10/10)

8. "Flame-Sky" (11:32) a song whose composition is credited to Doug Rauch, Carlos Santana, and guest guitarist Mahavishnu John McLaughlin, it follows a typical (for Carlos and John) two-chord foundation over which many of the Santana band members solo in response to their inspiration from the presence and fire of the Mahavishnu. I have to admit: John is quite impressive, but, then, so are Carlos, Doug Rauch, the Hammond and Yamaha organists (Kermode and Coster, respectively) as well as conga player Armando Peraza. Definitely another showpiece for the skills of these two extraordinary guitarists, but also for the Santana rhythm section. (18/20)

9. "Welcome" (6:30) wild free-form, lightning-fast, single-note piano play with crescendoing, wave-like cymbal work provide background for Carlos' dreamy, pensive lead guitar melody exploration. Kermode's electric piano and Doug Rauch's respectful bass are also key in the support mode for Carlos' poetic expression. (8.875/10)

91.375 on the Fishscales = A-/five stars.

Bonus track on 2003 Legacy remaster:
10. "Mantra" (6:00) opening with an incredible rhythm interplay between Doug Rauch and Michael Shrieve, the song proceeds to build with organ, percussion, and group background chant vocals about "love" and, later, in a more forceful narrator's voice, "joy." Great jam that I'm sure could have been drawn out over many minutes with wild dancing and percussion and keyboard play on stage in the "live" format. I am happy for the inclusion of this awesome song--another tribute to one of those great artists whom we lost far too young to the vicissitudes of drug addiction. (9/10)

This is, in my opinion, a sadly under-appreciated album. It's different from the early Santana (Santana, Abraxas, and Borboletta). It's different from the dive into J-R fusion that Caravanserai and his collaborations with Mahavishnu John McLaughlin and Alice Coltrane were. It's poppy and pretty and funky and melodic--hummable and danceable and joyful and, at times, almost laid back. People miss Greg Rollie (I don't.) People miss Neal Schon. (Me, too!) People miss the up-front dominance of Carlos' guitar (he's humbler: he's a devadip!) But this is great music with some very focused, present performances. And there's still the great Santana rhythm section of Maitreya Michael Shrieve, Latin percussionists Armando Peraza and Jose "Chepito" Areas, amazing bass wunderkind, Doug Rauch, as well as the rock on keys, Tom Coster. There are some rather amazing, spirited performances by guest collaborators Flora Purim, Wendy Haas, Joe Ferrell, and, of course, the Mahavishnu himself, John McLaughlin. Plus, this is early Leon Thomas, before he got so deep into the voice modulation that he would explore in fullness with Pharoah Sanders.

     There are some beautiful songs here--songs that deserve radio play (albeit, perhaps Soul/R&B or Adult Contemporary radio stations). I love the beauty of "Light of Life," "Yours Is the Light," "When I Look Into your Eyes," and "Love, Devotion & Surrender." The intended jewel, Doug Rauch's "Flame-Sky" falls short for a lack of development, but clearly shows the young bass player's reverence and respect for the Mahavishnu--especially having just come from the Love Devotion Surrender sessions in which he was, no doubt, put in a place of awe with the likes of Billy Cobham, Larry Young, and the Mahavishnu letting their pyrotechnical flak and machine gun fire fly around him. (And, yes, I agree: neither Richard Kermode nor Tom Coster can hold a candle to the amazing Larry Young [Khalid Yasin].) The finale is a bit drawn out and near-monotonous, and Alice Coltrane's opening number is a bit one-dimensional, but otherwise, I thoroughly enjoy the music and, more, the performances on this album: they're just not the Santana performances one had grown to expect!

     For those of you in the dark, the incandescent light of one of the smoothest, most melodically gifted bass players I've ever heard is shining bright here in the play of Doug Rauch--a light that burned out far too early (due to the trappings of drug addiction). Check out his playing here on "Light of Life" and "Yours Is the Light" and "When I Look into Your Eyes" as well as throughout Caravanserai and on Lenny White's Venusian Summer--particularly with Ray Gomez on "Mating Drive." Also, there is some fine, fine work by Mr. Shrieve here, if one were only open to listening for it. Give it a chance; open your hearts; welcome the love; embrace Carlos' purest of intentions. You won't be sorry.

     This is definitely one of my Top 100 Jazz-Rock Fusion albums of all-time.

SANTANA Lotus

Live concert material recorded on May 3 & 4, 1973 while the band was touring in Japan, the "album" was only released on vinyl--as a triple album--in Japan--in May of 1974, in Europe in November of 1975, and the US in June of 1991--this latter version being the one I had access to for my listening experience--which came in the form of two-disc CD format. 

Line-up / Musicians:
- Carlos Santana / guitars, percussion, vocals

- Doug Rauch / bass

- Michael Shrieve / drums

- Greg Walker / percussion, vocals
- Leon Thomas / vocals, percussion
- Tom Coster / keyboards [electric piano, Hammond and Yamaha organs]

- Richard Kermode / keyboards [Hammond organ, electric piano]

]- Armando Peraza / percussion [timbales, congas]

- Jose 'Chepito' Areas / timbales, congas, percussion

CD 1 (58:53) (119.2083333/130 = 91.70)
1. "Going Home" (3:23) warm up, tuning, sound level adjustments,
2. "A-1 Funk" (3:13) continued warmup--especially for the synth player (Tom Coster?) (8/10)
3. "Every Step of the Way" (11:30) the first four minutes are just an extended intro/warmup for this song, it's not until 4:10 that the song becomes recognizable as the great tune from the band's 1972 album, Caravanserai. Then it's magical: a very spirited performance all around. (18.5/20)
4. "Black Magic Woman" (3:38) great bleed from "Every Step of the Way" to this. Weird to hear Leon Thomas' voice in the vocal position: he's so uniquely Leon Thomas! Also weird to hear Doug Rauch's bass playing to sound and feel so mechanical and laid back. I like it better when he feels like he's flying around the stage--as he does a little more with . . . (9.25/10)
5. "Gypsy Queen" (3:57) I can't remember if the album version of this song (from the band's album Abraxas--as are the songs preceding and following it) had the Jimi Hendrix homage riffs from Carlos (from "Third Stone from the Sun"), but I love it. The percussion interplay is awesome--and awesomely recorded and imaged. (9.5/10)
6. "Oye Como Va" (5:47) great with some fun group vocal and percussion performances beneath and between Carlos' screaming guitar leads. (Carlos letting the spirit of his dad's mariachi band flowing through him). Perhaps Doug's subdued bass play was due to his wanting to uphold the sacrosanctity of the originals, but you'd think with these percussionists and Carlos getting so fired up and expressive that it would light a little infectious fire in Doug's playing. Perhaps we just have to wait for the material from Caravanserai and Welcome that he helped to create. Anyway, this is an engaging and spirited song.(9.5/10)

7. "Yours Is the Light" (5:30) a song from Welcome attributed to keyboardist Richard Kermode, it's very melodic and smooth--perfect for every one to just groove to--especially the percussionists. Finally we get to hear the loose, engaged, and fully-expressive bass playing of Doug Rauch. (This alone may end up making this song a favorite from this concert album.) Also due to the excellent electric piano play. So smooth and hypnotic! (9.75/10)
8. "Batuka" (0:55) a percusssion jam interlude/bridge (that probably went on longer than what we've been given to hear here). (4.5/5)
9. "Xibaba" (4:13) another cover of the Airto Moreira composition that was first presented to the world on Donald Byrd's 1970 album, Electric Byrd (on which Airto was a contributing studio musician). (I've always thought that the main melody of this song sounded like it was borrowed from a television or radio advertizing jingle of the day--or vice versa.) (9/10)
10. "Stone Flower (introduction)" (1:14) (4.375/5)
11. "Waiting" (4:14) I've always adored this song ever since I first heard it as the opening song on Santana's debut album: great whole band "introduction" jam. I wish Carlos' guitar tone was a little more aligned with those of more traditional rhythm guitarists of the time: his is a little loud--plus, I don't really think he's very good as a rhythm guitarist: he's a melody-maker not an accent provider or rhythm sectionist, but, this awkwardness is resolved with A) some great organ play and B) the transition into the next song. (9/10)

12. "Castillos de Arena, Part 1 (Sand Castle)" (2:51) on which he returns to his natural place and role as the front man: making his melodies and making women's nipples erect. The song's second half sounds as if everybody has suddenly shifted into MAHAVISHNU mode! It's wild, crazy, cacophonous, and chaotic but AWESOME! (9.5/10)
13. "Free Angela" (4:26) a song credited to "Bayeté" (keyboard player Todd Cochran). It starts out rather dynamically but then quiets down into something befitting a Herbie Hancock Mwandishi-lineup song. (I wonder if the song is politically-motivated--perhaps expressing some dismay at the treatment and arrest of Black Panther members like Angela Davis.) (9/10)
14. "Samba de Sausalito" (4:02) another great whole band Latin jam with some serious jazz-rock fusion roots. It was composed by percussionist Chepito Areas and recorded for the Welcome album. (9.333/10)

CD 2 (59:47) (113/125 = 90.40)

15. "Mantra" (7:17) opening with heavily-treated/effected/distorted percussion and keyboard sounds played as if in a Gamelan percussion orchestra, Doug and Michael join in after a bout 90-seconds, pushing the "oriental" percussionists back into rock mode as the two organists join in, weaving together an interesting and enjoyable tapestry between the rhythm section and the impending lead instrument. I know both Richard and Tom are soloing, they're just doing it so smoothly, so subtly, that it all falls into place among the rhythm section's hypnotic groove. At the very end of the fifth minute Carlos finally enters, using a minor key scale to explore a tension-filled melody. Here you can really tell how much John McLaughlin's pyrotechnical guitar playing style has affected Carlos. It's good! It's all good (no matter how improvisational it may be.) Surprising that this song appeared as a polished version on Welcome. (13.25/15)
16. "Kyoto" (9:58) Michael Shrieve's drum solo! Having the engineering imaging panning the sonic field is helpful in making it entertaining in the same way it would have been if I had been standing in front of the drums during the concert. Percussionists add subtle accents from a variety of odd instruments during Michael's trance-like performance. It's actually really good! Like sitting in on a very listenable drum exhibition. (I normally don't like drum solos very much.) Tom Coster joins Michael in the second half of the allotted time on an "alien" synthesized electric piano. (18.25/20)
17. "Castillos de Arena, Part 2 (Sand Castle)" (1:13) bleeding over from Micheal's drum solo to start another part of Carlos & company's Mahavishnu-ed jazz-rock fusion. (4.5/5)
18. "Incident at Neshabur" (15:57) using a two-chord blues-rock vamp to build over, this one sounds like something from BLIND FAITH or BRIAN AUGER, only more Latinized from Santana's percussion-rich ensemble. Again we get to hear some of Doug Rauch, Richard Kermode, and Tom Coster's adventurous spirits spilling over into the rhythm section's support of Carlos--who, in the meantime, is soloing dynamically while pleasantly sneaking a few well-known melodies and riffs into his lead performance, including "My Favorite Things," a little Chuck Berry, Jeff Beck, and many others that were probably lost on me. Expanded in the version I get to hear to triple the original 4:53 length on Abraxas, the original six-sided three-disc Japanese release from 1974 is over 17-minutes in length. By the time the eighth minute has rolled around it has become a sleepy, spacious place over which Carlos has even more unrestricted freedom to replicate some of his more favorite melodies--many of which are familiar to the lovers of his more iconic lead guitar songs--especially those from Caravanserai, but also some more from other artists.  I must admit that this must have been a very fun--and entertaining--song to listen to as one of the concert attendees: listening, waiting, to see if you can guess the source of the artists' melody lines or riffs. By the end of the eleventh minute the song has re-ramped up to full speed, full participation of all band members--most of them flying at full speed with virtuous near-reckless abandon. Carlos's re-entry at 12:25 commands a "stop and make space" response from the other musicians. He then proceeds to fill the speakers with some long, slowly held and progressed notes while the rest of the band provides one of those "end of rock song" finishes--only this one prolonged over two and a half minutes. Still, I like this song very much: great entertainment for a live audience--especially a musically-aware audience. (27/30)
19. "Se a Cabo" (5:39) back to Abraxas, which was, at the time, the band's biggest selling album worldwide. Though it's a two-chord Latin vamp, Doug and the rest of the rhythm section feel very engaged and locked in. (8.875/10)
20. "Samba Pa Ti" (8:56) It seems as if everyone gets a chance to solo on this one. Too bad the mix and imaging of the instrumental stage isn't rendered more distinctly so that each and every instrument is clearly and cleanly distinguished from the others. The fans seem to love Carlos' "teasing" extended delay-pauses that he uses during the middle over the smooth dance grooves provided by the locked in band. (17.75/20)

21. "Mr. Udo" (3:07) a variation (or pre-version) of "Savor" that the band delivers with a very Japanese-sounding start (but then find it quickly devolve into another Latin-dominated tune) over which the real Leon Thomas sings using his full complement of vocal idiosyncracies (wordless vocal "noises"). (8.875/10)
22. "Toussaint L'Overture" (7:40) The only song representing the Santana III album! (Perhaps because the band was disintegrating at the time Santana III was being made.) Lots of great percussion play from the Latin ensemble and some very loud JIMI HENDRIX-like guitar shredding from over this four-chord "Don't Let Me Be Misunderstood"-like song. Awesome! Perhaps it was even intended as a tribute to the late great guitar god. (14.5/15)

Total Time 118:40 (113 + 119.2083333 /255 = 91.06)

The first 18 minutes of Side One sounds totally like warmup and a space-jam of the sort that Stomu Yamash'ta would exploit in his upcoming (1976) Go Live in Paris album. Also, I don't know if other listeners had this experience, but I found the sound quality and imagery on the entire second CD disc to be thinner and flatter than that of the first disc--with all of the instruments (except Carlos' guitars) mixed further into a flat background than the wonderfully three-dimensional feel of the first disc.

This album opportunity seemed like it could have been the perfect vehicle to hear the genius of bass phenom Doug Rauch at play but I have to say that his performances mostly felt subdued, reigned in, and less than enthusiastic--very tight and professional but totally lacking any of the flash and flare that I thought (and hoped) I'd hear. 

91.06 on the Fishscales = A-/five stars; a very nice recording of a fan-pleasing concert that represents fairly well the free-wheeling jazz-tinged period of Santana's career. Though I'm not a fan of live albums, this one does a pretty good job of capturing some of the energy and entertainment value of the Jazz-Rock Fusion period of Santana.

TURIYA ALICE COLTRANE - DEVADIP CARLOS SANTANA Illuminations (1974)

Released in September of 1974--the first of three rather gentle, Popol Vuh-like free jazz albums on which Carlos used the term "Devadip" (reputedly meaning in Sanskrit, "the light and lantern of the supreme" or "the eye, the lamp and the light of god") that spiritual guru Sri Chimnoy had given him.

Lineup / Musicians:
- Turiya Alice Coltrane / harp, arranger [strings], piano [acoustic] and composer (A3), organ [Wurlitzer] (B1)

- Devadip Carlos Santana / guitar [lead and rhythm], percussion [wind chimes, finger cymbals], co-composer (A1, A2, B1, B2)

- Tom Coster / piano [electric and acoustic], co-composer (A1, A2, B1, B2), organ [Hammond] and percussion [finger cymbals] (B1)

With:

- Dave Holland / double bass (A1, A2, B1)

- Jack DeJohnette / cymbals (A1, A2), drums (B1)

- Jules Broussard / flute (A1, A2), soprano saxophone (A1, A2, B1)

- Armando Peraza / percussion [congas] (B1)

- Phil Ford / tabla (B1)

- Prabiddja Phil Browne / tamboura (B1)

A1. "Guru Sri Chinmoy Aphorism" (1:10) nothing like a professional "om" to open an album! 

A2. "Angel Of Air / Angel Of Water" (9:55) had Carlos ever played such clear, sustained, crystalline notes on his electric guitar as he did in the second minute of this song? Bass, harp, orchestra-like cymbal play, and Fender Rhodes piano chords support this for the first four minutes until sax enters to help bring the "Angel of Air" section to a close. The second half has Alice's harp playing more prominently alongside Dave Holland's pacifying bass lines and opposite Carlos' at-first subdued, almost-muted guitar note play. Orchestral strings and Fender Rhodes swirl at both ends of the aural spectrum before Jules Broussard's sax (which sounds more like an alto than the credited soprano) returns. The song's final three minutes, then, unfold as a sparse duet between Carlos and Alice before the bass and strings re-join for the final two. Beautiful and, I'd say, yes, successful in its devotional aspirations. (18/20)   

A3. "Bliss: The Eternal Now" (5:32) full orchestra is here central and to this music with Carlos' r/humble and even deferential guitar and Alice's pensive piano feeling almost supportive of, if not reactive to, the strings, etc. I like this very much. (9.25/10)

B1. "Angel Of Sunlight" (14:43) with the presence of the tamboura, cymbals, non-Western scales being played by Carlos and, later, tabla, this one seems to be trying to present itself as a kind of East-West fusion piece--and this was before any of the Shakti or CoDoNa releases, though a couple of years after Collin Walcott's OREGON trio had been trying to make its mark on the East Coast. At the three minute mark the entry of a domineering Dave Holland bass and full-blown drum kit from Jack DeJohnette seems to be trying to steer this song into the clutches of the West but . The entry of a note-bending organ in the ninth minute adds an odd sound that I suppose is trying to emulate the note-bending capacities of the sitar and other Indian, Chinese, Japanese, and Korean instruments. Wild free-form saxophone and Carlos' note-bending banshee-screaming guitar notes join in during the successive minutes sounding more like one of ROBERT FRIPP's free-form KING CRIMSON sessions (think Discipline's "Indiscipline"). With the arrival of the 12-minute mark comes a calming "after the storm" wind down effect. An incredible song of cross-cultural  (28.5/30)

B2. "Illuminations" (4:20) Tom Coster's single piano chord opens this one, held and sustained while the orchestra strings, vibrapone, and harp slowly and, eventually, rather-dramatically work their way into the song (between successive piano chord hits). Again, it really feels as if the orchestra is the lead instrument here, even when Carlos' delicate and unassuming guitar lends its very minimal notes. (9/10)

Total time:

Though I would never categorize this album as one of Jazz-Rock Fusion, it is a collection of song performances drawing on both jazz and cinema soundtrack history to express the devotional aspect of its composers and performers. 

91.07 on the Fishscales = A-/five stars; a minor masterpiece of some kind of jazz-informed devotional music.