The guitar that tasted of Tequila
by Vicente Mateu
I started enjoying Carlos Santana's solos long
before I discovered that music sounded so much better with a generous shot of
Tequila and that the two blended together could go straight to your head. My
Latin roots took care of the rest. My European ones, on the other hand, failed
to appreciate more than the delights of curry and cardamom when, accompanied by
his meditations and jam sessions partner John
McLaughlin, he put thousands of kilometres between 'us' to take a swim in
the Ganges. I apologise for the apparent name-dropping, but all that
'transcendence' drowned (in my more than debatable opinion) his talent and
along with it my desires to listen only to his guitar, that guitar so clean and
pure which still shines out to this day, a guitar that when it starts to work
its magic, you wish it would go on forever. Just like his legend does.
He left Michoacán with a violin
tucked under his arm, as did his father, the member of a mariachi band, and landed
in Tijuana with a guitar that he was determined to make sound like B.B. King, T-Bone Walker and John Lee
Hooker. These were his apprentice years, although his role in the local
bands in which he played was that of a bass player. These were invaluable
lessons learned until, at the tender age of 15 (he was born in 1947 in Autlán
de Navarro, Jalisco), Carlos Augusto Santana
Barragán arrived in San Francisco Bay - at that time a hive of creative
activity in which the Carlos Santana
we know today was shaped.
This being the early '60s, he was
in the right place at the right time. Such is the luck of the greats and that before
this decade was out would take him onwards and upwards, all the way to
Woodstock. It would be on that legendary stage that he hanged the famous red
Gibson SG around his neck, today on display in a famous bar in Marbella. As his
countless fans will tell you, he replaced it with a Yamaha SG 2000 up until he had his very 'own' guitar, or to be more
precise, a whole series of them, under the name of Paul Reed Smith, with his Santana Se models, and so on. For more
information, and for those who feel they need to pick up a heavy dose of GAS,
check out The Gear at www.santana.com.
These were the years of great
technical and creative development, while he made his spiritual transition,
along with other rockers, under the tutelage of Sri Chinmoy. While Devadip (his new name) matured, Carlos started off recording a whole
stream of songs that are quite simply impossible to repeat – endless
collaborations, most of them with the same legends he admired, such as Wayne Shorter, Herbie Hancock and even
the great John Lee Hooker. A long list of albums, one every year, from 1969
through to 1982.
His first recording, according to
biographers of the legendary guitarist, was in the revolutionary year of 1968,
when he was invited to take part in The
Live Adventures of Mike Bloomfield and Al Kooper (the former being,
according to his own confession in his autobiography, his greatest influence),
which was an incredible concert that took place around the time Santana became
the name of a band that was just starting out under the label of the recording
giant Columbia. Apart from Carlos
and Neal Schon on guitars, the band
also boasted Gregg Rolie on keyboard
and vocals, Michael Shrieve on
drums, David Brown on bass together with José
'Chepito' Areas and Michael Carabello on percussion, who
are in fact today back by his side.
This prodigious decade, with Carlos Santana already confirmed as a
great instrumentalist, bore fruit that tastes just as sweet today, hits that
are with him and will be with him to the end of his days – Black Magic Woman, Soul Sacrifice, Oye com ova, Samba pa ti… songs
that form a part of the greats we all know and love. Nobody has managed to
blend rock with such a special blend of salsa (his own secret recipe) and
spread it around the entire planet, a journey in which his guitar has been the
absolute and almost only star.
These thirteen years have also
seen a slow and steady change by Santana
away from his rock leanings towards jazz, free, fusion or whatever you care to
call it, a journey along which he came across his great friend McLaughlin, but many others too, such
as Jeff Beck and Steve Lukather of Toto, with whom in 1987 he recorded another memorable (bootleg)
record full of collaborations with other artists, another delicatessen full of
rare and wonderful delights for we apprentices of the six strings to learn
from.
From that moment, Santana's career has been hit and miss,
with masterful live recordings intertwined with mediocre studio efforts, except
for, of course, the notable exception which is Supernatural, released in 1999 -
at least from the point of view of his song writing, which had been in danger
of being suffocated, the guitarist seeming to have locked himself away in some
metaphorical box for far too long. This was a time in which cover versions were
the order of the day, above all with the help of guest musicians, peaking in
2002 with Shaman, replete with such big names as Nickelback's Chad Kroeger, POD and Seal.
The strategy served to make his
unmistakable guitar sound even more popular worldwide and his legend even
greater, his guests never thinking even for a second to pass up on the
opportunity to see their names next to this living legend. And if the 'maestro'
was inspired and managed to pull together a really hot solo, then success was a
foregone conclusion.
And so on it went. His 'friends'
accompanied him on yet another blockbuster of an album, yet again showcasing
his endless talent. In 2014, Corazón
showed us the best Santana yet,
rubbing shoulders with the king of the dancefloors, Pitbull, whom he invited into the studio together with Tito Puente to make a revamped version of Oye com ova. Juanes, Gloria Estefan, even Niña Pastori and Los Fabulosos Cadilacs. Top acts in their own worlds who assured
that the Latin American market would be taken by storm, wiped out by this
eclectic mix of Latin fruit. If you can't beat them, join them, as one of the
basic laws on strategy assures.
Santana's 'revival' couldn't have
come at a better time. In 2016, his legend is as alive and kicking as ever – so
much so that he has come to need a 'double' to cover the demand for his
concerts, a show entitled The Magic of
Santana (in Spain in February) that has his been given his own personal
seal of approval, much like Brian May with his Queen. The guitar-work has been left to Alex Ligertwood, singer
and guitarist of his band between 1979 and 1994, meaning that authenticity is
assured.
As we mentioned in passing
earlier, Santana has also decided to
get his first band back together, the one he recorded his masterpieces with in
the early '70s. The only men missing are Chepito
Áreas and the late bass player David
Brown. But he has managed to get back together with Neal Schon (another
master of the six strings who was with him at just 17 years old before heading
out on his own to form Journey), Michael Shrieve, Gregg Rolie and Michael
Carabello. The fruits of this musical
venture have been promised this coming April.
This may be a band of pensioners
with blood pressures as high as their hair lines, but they are still good to
go, alive and kicking and to be enjoyed for as long as we have them with us.
They have nothing to prove, just the pure pleasure of playing great music
together like the good old days. And for us, the pleasure of being able to
listen to them and learn. This is the magic of Carlos Santana.