Waves gtr3 santana sound plus#

Caravanserai was the album we werenРІР‚в„ўt supposed to do.РІР‚Сњ Michael ShrieveР”Р„nother album Santana was listening to was Thembi by Pharoah Sanders, released in 1971. We were looking for our identities in the same places with a spirit of exploration and the courage to try something new, even if it didnРІР‚в„ўt make sense or we werenРІР‚в„ўt supposed to do it. We were looking for Weather Report and for Miles Davis. Santana started hearing new approaches to music making and was drawn into the world of spiritual jazz and the blend of jazz and rock: РІР‚СљJohn Coltrane and Pharoah Sanders and Antonio Carlos Jobim and Alice Coltrane, with their looser rhythms and spiritual, praising melodies, were inspiring a change in the kind of music Shrieve and I wanted to do. Some drummers only have chops, but Michael Shrieve has vision.РІР‚Сњ

He opened my eyes and my ears and my heart to a lot of things. I just wanted to play blues until Michael came. I owe Michael a lot HeРІР‚в„ўs the one who turned me onto John Coltrane and Miles Davis. Shrieve was Carlos SantanaРІР‚в„ўs portal into the world of great jazz albums: РІР‚СљWhen I was living on Army Street, Michael would bring me all kinds of records, Miles Davis and John Coltrane and IРІР‚в„ўd say РІР‚ВAw man, bring me some Albert King.РІР‚в„ў But when I heard In a Silent Way I thought it was interesting and when Michael brought me Miles in the Sky it was all over. These drummers have a lighter touch on the drum set and their jazz esthetics and dynamics broaden the range of the typical rock band rhythm section. Bill Bruford of Yes is another fine example. Shrieve belongs in the great society of drummers who are into jazz and improvisation but found themselves through various circumstances playing in rock bands in their early careers. Musically, the road to Caravanserai started with drummer Michael ShrieveРІР‚в„ўs love of jazz. But for an American top 40 band to do that, and with such a level of integrity and sincerity, that was unique. Sure, progressive rock bands, mostly from the British Isles like Soft Machine and King Crimson, where already doing that in spades by 1972. But unlike most albums in the genre that came about when jazz musicians discovered that rock attitudes and instrumentations can add a new dimension to their music, it is rare to find a rock band foraying into jazz territories. There is a level of intensity and urgency about that music that has its peers in the beginnings of jazz rock: albums by Miles Davis, Tony WilliamsРІР‚в„ў Lifetime and John MacLaughlinРІР‚в„ўs Mahavishnu Orchestra. That place is the caravanserai.РІР‚Сњ He could not come up with a better title for the album, as it represents not only his personal quest for spirituality at that time, but also the music that the band created for the album. But Carlos Santana found a different meaning for it when he was reading a text by Indian yogi and guru Paramahansa Yogananda: РІР‚СљThe caravan is the eternal cycle of reincarnation, every soul going into and out of life, from death to life and back again, until you arrive at a place where you can rest and achieve an inner peace. In the Near East the word Caravanserai means a large courtyard that provides accommodation for caravans, or simply a group of people travelling together. This is the story of Caravanserai, my favorite album in the bandРІР‚в„ўs catalog. The result is one of the best albums of that period, a spiritual blend of jazz, rock and Latin music like no other. More changes were to come soon, and these sessions document a band in transition while in search of a new purpose.

The gist of it is that by the time recording sessions commenced in February 1972 for the bandРІР‚в„ўs fourth album, percussionist Michael Carabello and bassist David Brown were gone, replaced by James Mingo Lewis and Dough Rauch. That phase in the bandРІР‚в„ўs timeline is chronicled well elsewhere so I will let other sources document the inevitable results of too much sex and drugs and rock n roll.

Waves gtr3 santana sound plus#

After an iconic performance at Woodstock and three excellent albums that defined the blue print for Latin rock, plus a succession of hits like Black Magic Woman and Oye Como Va, the band was falling apart. At the end of 1971 the Santana band was disintegrating.