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He humorously reminisced about praying to God to help him keep it together during the performance, one he played while high on L.S.D. Mathews, percussionists Karl Perazzo and Paoli Mejias and vocalists Andy Vargas and Ray Greene.Īfter “Europa,” Carlos went into a long rap about Woodstock ’69. Santana then shifted the mood with his fantastic ballad, “Europa.” It boasted a delightfully hesitant rendering of the soaring melody and unexpected avenues in his solo, when he rolled the treble off his guitar giving it what Clapton called “the woman tone.” On this and every number, Santana was supported by a first-rate row of players including longtime bassist and former Miles Davis sideman Benny Rietveld, keyboardist David K. The band then cooled things down by serving up some of their hit ballads including “Head to the Sky,” “That’s the Way of the World” and “After The Love Has Gone,” before upshifting to more high-energy favorites – “Boogie Wonderland,” “Let’s Groove” and the set closer “September.” The whole affair seems largely directed by the powerful centerstage presence and thumping bass of Verdine White. The entire band is as tight “as a mosquitoes’ tweeter” to quote another great musician, Nina Simone. Even at 71, Bailey hits all the high notes, probably the highest of high notes in all of music, at least since they stopped cranking out operatic castratos in the 17th Century! His son, Phillip Bailey Jr., shares both the lead duties and otherworldly vocal instrument of his father. The most striking aspect of an EW&F performance is the undiminished state of Phillip Bailey’s soaring falsetto voice. They hit the ground running at Bethel with an uninterrupted string of eight high-energy hits including “Shining Star,” “Getaway,” “Serpentine Fire,” “Sing A Song” and “Got to Get You Into My Life.” The focal points are the three founding members still performing today – the always smiling bassist Verdine White, percussionist and vocalist Ralph Johnson and the extraordinary lead vocalist Phillip Bailey. Even without the presence of their founder and leader, the late Maurice White, the 12-piece band put on a staggeringly energetic and hit-packed show. These are songs that have lived on as samples powering hits by new generations of artists, from Drake to A Tribe Called Quest to Bjork. They are one of the most successful acts in history, selling over 90 million albums, with a litany of Billboard charting singles that betters most acts of their era. Though they are enshrined in the Rock & Roll Hall of Fame and have earned a boatload of Grammy Awards and other honors, Earth Wind & Fire just don’t seem to get the respect they truly deserve.
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The show Sunday, August 21 at Bethel Woods was made even better by the staggering 90-minute plus opening set by Earth, Wind & Fire. As always, he was again backed by an ace band that served up the crowd-pleasing hits and a few surprises. Each and every time, Santana would rise to the occasion and spit with his guitar “sapphire bullets of pure love,” quoting McLaughlin. The fourth was also at Bethel Woods, in the summer before Covid-19 descended to darken stages and our lives. My third live experience was when he was even deeper into his jazz phase, a 1988 performance at the Saratoga Jazz Festival with a band co-led by Miles Davis and Weather Report saxman Wayne Shorter. The first two were in the early and mid-‘70s respectively, shortly before and then after his embrace of guru Sri Chimnoy and his legendary guitar battles with another Chimnoy acolyte, jazz fusion great John McLaughlin. I have had the pleasure of seeing Santana live on at least five occasions.
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Cindy Blackman had been playing drums for seven years when, at age 15, she first heard the phenomenal drumming of Tony Williams on a couple of Miles Davis albums recorded a decade earlier, when Williams himself was a teenager. The experience changed her life.
"I was just freaked out by Tony and loved him from that day forward," says Blackman, now 49, by phone from her home in Brooklyn, N.Y.
Several months later, Blackman attended a drum clinic given by Williams at a music store in Wethersfield, Conn. "I went and I was floored," she recalls. "That was the most incredible thing that I had ever seen in my entire life. I knew right away that was the direction I had to go for sound, for technique, for concept, for just general attitude behind the kit. I was so taken by everything that he played. He took questions, and I halfway raised my hand to ask a question, but no words came out. I couldn't even say anything to him."
The red-headed drummer later studied in Boston with Alan Dawson, who had earlier been Williams' mentor. "I wanted to study with Alan because his reputation as a teacher was legendary, but I also studied with Alan because I was chasing Tony's path." [Read More]
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“The music I make a lot of the time is reflective of the life I am leading.”
Prince
The book is a very detailed daily log of what Prince recorded in the studio during 1983 and 1984 which is when he went from critical darling to the biggest rock star on the planet and the story is told through his time in the recording studio. This book isn’t just a chronicle of when and where he recorded some of his biggest hits, thanks to the contributions of so many people who were there in the recording studio with him, it also explains WHY he recorded many of his greatest songs, as well as never-before-published details about what is in Prince’s vault.
Over 220 sessions are covered in the book including music recorded for Prince as well as The Bangles, Stevie Nicks, Sheena Easton, Apollonia 6, The Time, The Family, Sheila E. and others.
I’ve spent 20 years working on this book series, and this is the first of what I expect will be multiple volumes. I am grateful to everyone involved in this book for sharing their time and stories with me. I hope that the access that I was granted helps reveal an entirely new view of the genius of Prince, as detailed by those who knew him best.
This volume contains contributions from: Lisa Kanclerz Coleman, Wendy Melvoin, Matt Fink (Dr. Fink), Brown Mark, Susannah Melvoin, Albert Magnoli, Peggy Peggy McCreary Blum (Peggy Mac), Alan Leeds, Susan Rogers, Jesse Johnson,Jill Jones-Mühlum, David Z David 'Z' Rivkin, David Coleman, Brenda Bennett, Bob Cavallo, Arne Frager, David Tickle, Timo Barr, Bill Jackson, Mark Cardenas, Coke Johnson, Craig Hubler, Paul Camarata, Eddie Mininfield (Eddie M.), Jerry Hubbard, Larry Williams, Laury Woods, Mike Kloster, David A. Knight, Brad Marsh, Novi Novi Novog, Richard McKernan, Sid Page, Stephen Shelton, Murielle Hamilton, Terry Christian, Tony Christian, LeRoy Bennett, Brent Fischer, Clare Fischer, and some additional information from Jellybean Johnson, Paul Peterson, Benny Rietveld,Pepe Willie and Eric Leeds. Thank you to each of you for sharing your stories of Prince’s work in the studio with me.
Thanx to all of you in the Prince: The Complete Studio Sessions Book series FB group for having faith. (https://www.facebook.com/groups/1091596104195943/)
Preorder on Amazon
Shout out to Reverend once again on the book cover design!
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Santana Takes Listeners On An Unforgettable Adventure On New Album ‘Africa Speaks
Press Release
Source: Jensen Communications
Carlos Santana and Buika – Photo by Maryanne Bilham.
Throughout his storied career, music legend Carlos Santana has amassed an iconic body of work by pioneering a unique fusion of rock, Latin and jazz. On his upcoming album, Africa Speaks, to be released June 7, 2019 on Concord Records, the Rock and Roll Hall of Fame guitarist goes deeper and further than ever before.
Inspired by the sounds and rhythms of Africa, the virtuoso musician has created a truly memorable and powerful experience that also promises to be one of his most groundbreaking albums yet.
Listen here as Santana shares “Breaking Down The Door,” the first single from his highly anticipated new album. To watch the video for the track, click here.
For Santana, the inspiration for Africa Speaks holds a special significance. “This is music that I hold so dearly, and it’s not a stranger to me,” he says. “The rhythms, grooves and melodies from Africa have always inspired me. It’s in my DNA. If you take your inspiration from many, it’s called research. I researched this beautiful music from the African continent. They have a frequency that’s all their own. It’s funny, because when I play in Africa, people say, ‘How do you know our music?’ And I say, ‘How can I not know what I love?’”
To fully realize the breadth of the music on Africa Speaks, Santana knew that he needed to work with another outside-the-box thinker, and he enlisted iconoclastic producer Rick Rubin. “Before I even shook hands with Rick, I said, ‘This is going to blow his mind,’” Santana recalls. “I knew he’d never done anything like this.” When Rubin listened to the demos, his reaction was immediate and effusive: “He called me and said, ‘These songs are like gateways to people’s consciousness,’” Santana says.
The master guitarist and his eight-piece band (which also includes Santana’s wife, Cindy Blackman Santana, on drums), convened at Rubin’s Shangri La Studios in Malibu, and in a joyous and stimulating 10-day period they recorded an astonishing number of tracks, many of them in one take. “I’m not bragging or boasting,” Santana says, “but we recorded 49 songs in 10 days – killer, vibrant, dynamic, exuberant African songs that moved and inspired me. If Miles Davis or John Coltrane were in the room and they watched this music go down, they would be like, ‘Damn! How did you do that?’”
On working with Rubin, Santana raves, “He was very gentle and unobtrusive. His spirit was never an imposition. He trusted the process and how I wanted people to dance and feel in a way that’s totally different.”
Another dramatic element in the creation of Africa Speaks came in the form of Spanish singer Buika, whose heavenly lead vocals cast a magical spell throughout the album.
“People are going to be blown away when they hear her,” says Santana. “She’s got Nina Simone, Etta James, Tina Turner, Aretha and more rolled into one.” The guitarist was so taken with the Latin Grammy Award winner that he asked her to write lyrics to his new compositions.
Santana recalls, “Buika told me, ‘I wrote lyrics and melodies I’ve never done before. I was crying and laughing. The music possessed me to create something outside of the realm that I know.’ I said, ‘Yeah! If that’s what it does to you, imagine what it’ll do to the listener.’”
Africa Speaks is a beautifully sustained, blissful experience that opens with the fully immersive title cut, a righteous celebration that features Santana’s savage, yet shimmering guitar lines engaged in a joyful dance with congas, piano and a rousing choir of vocals.
On the fast-paced “Batonga,” Santana locks into a wicked free-form jam with David K. Mathews’ Hammond B3 that recalls the band’s early days. “This song means business – it’s got war paint,” says Santana. “It heals laziness, complacency, the doldrums that people feel. It revs up your enthusiasm to make you roll up your sleeves and invite other people to create heaven on earth together.”
“Oye Este Mi Canto” starts out seductive and sinuous, with Buika’s magical vocals playing off Benny Rietveld’s playful bass lines. As its deep funk groove deepens, Santana ignites a veritable bonfire of guitar voodoo. “This isn’t Hollywood or Palo Alto,” Santana notes. “This is African music. This is what Jerry Garcia or Michael Bloomfield would have heard and said, ‘I want some of that in my music!’ Well, you have it in you.”
All of the songs have a coliseum essence to them,” Santana observes. “Whether it’s ‘We Will Rock You’ or Start Me Up,’ there’s certain songs that do that.” Which is a perfect way of describing “Yo Me Lo Merezco,” a crushing tour de force that sees Buika in sensational stadium-quaking form.
Matching the singer’s fervor is Santana himself, dispatching three spine-tingling minutes of six-string splendor. The guitarist could also be talking about “Breaking Down the Door,” a sexy and frisky musical carnival that is bound to be a concert staple for years to come. With Santana’s slinky soloing doing pirouettes to Mathews’ transporting accordion textures, stirring horns converge with rhapsodic percussion and vocals to produce the ultimate feel-good sensation. The track also features Carlos’ son and Grammy Award-winning composer Salvador Santana on keyboards.
As the album unfolds, more treasures are revealed: “Blue Skies,” which features the sumptuous background vocals of UK singer Laura Mvula, is an all-hands-on-deck jazz-rock masterwork that segues majestically into the super-funky “Paraisos Quemados” – highlighting the impeccable band interplay are Rietveld’s lively bass and Santana’s velvety guitar lines.
The guitarist’s otherworldly, wah-driven solos take flight on the stomping groove of “Los Invisibles” and the breezy, highly danceable “Luna Hechicera,” the latter of which features spitfire drumming by Cindy Blackman Santana along with the crisp percussion work of Karl Perazzo. This mesmerizing rhythmic excellence is on full display on the high-energy “Bembele.”
Carlos Santana – Photo by Maryanne Bilham.
Africa Speaks culminates with the cowbell-driven, epic marvel called “Candombe Cumbele.” As Cindy Blackman Santana works wonders around her drum kit and Buika leads an exultant vocal chorus, the man on guitar plays with time and space, exploring every inch of his instrument’s sonic spectrum. It’s a thrilling finale to a one-of-a-kind journey.
“This song captivates and freezes the moment of being in a total spell,” Santana says. “Certain artists like Jimi Hendrix and Stevie Ray Vaughan become a force of nature when they play. It’s like witnessing a tornado that’s coming at you. That’s what this music is about, capturing the metaphysical with the physical, and to do that you have to not be afraid to cast a spell.”
Distilling the 49 dazzling tracks that the band recorded in an unbroken, breathless 10-day period into an 11-cut album was no mean feat, but Santana, now 50 years into his remarkable career, succeeded in creating Africa Speaks as a compelling and uplifting vision that will rank as one of his most important and memorable works.
Carlos Santana and Buika – Photo by Maryanne Bilham.
“This record was meant to be,” he says. “It was like a gift that came from heaven that we received and were meant to give to the masses. We validate people’s existence and touch on so many emotions – there’s humor, beauty, grace and the human existence. We look forward to touring this album over the next year.”
Pre-order Africa Speaks here.
Africa Speaks track listing:
Africa Speaks (4:47)
Batonga (5:43)
Oye Este Mi Canto (5:58)
Yo Me Lo Merezco (6:12)
Blue Skies (9:08)
Paraísos Quemados (5:59)
Breaking Down The Door (4:30)
Los Invisibles (5:54)
Luna Hechicera (4:47)
Bembele (5:51)
Candombe Cumbele (5:36)
Santana on the web:
Official Site: www.santana.com
Facebook: www.facebook.com/carlossantana
Instagram: www.instagram.com/carlossantana
Twitter: www.twitter.com/santanacarlos
YouTube: www.youtube.com/santanaofficial
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Classical Guitar Lessons
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