SANTANA IV

There is little doubt that when Carlos Santana first appeared on the world stage in the late 60s, the musical universe was not quite ready to begin to understand how he would change the nature of modern music, and hence, add his 'progressive' twist to the wonderful yet still puerile world of rock 'n roll. That first solo album was also one of my first purchases back in the day and it caused quite a commotion, especially the sensational epic instrumental "Soul Sacrifice". Then the legendary Woodstock festival altered everything, a society taking a virtual leap forward in terms of adventure (the space race culminated in the moon landings), discovery (sex, drugs and Rock 'n Roll) and illumination (the counter culture). A million people attended, one died and one was born, go figure! When the movie came out, there was little dissent when fans claimed that Santana's presentation of "Soul Sacrifice" blew everyone away. Yes, they looked awfully stoned but those were the days, babe! Carlos was torturing his Gibson SG with eyes closed in unabashed fury, curly haired Michael Shrieve thrashing his drum kit in one of the greatest drum solos ever, the propelling organ of Gregg Rollie and of course, a cavalcade of bongos, congas, timbales that stamped the Latino sound. Fame and fortune followed, lots of hits, albums "Abraxas" and "III", continued the blues/fusion style until Carlos met Sri Chinmoy and went down an incredible path of spiritual exploration that culminated in his most progressive effort yet , the spectacular "Caravanserai", which also had Neil Schon as an axe partner. The follow-up "Borboletta" was also deliciously experimental and remains on par with the previous masterpiece. I had the privilege of attending both tours and the music was volcanic, to say the very least. Then began a long, very long slide into commercialism that continued unabated from 1976 until 2016 with the unexpected release of "IV", a direct return to those heady pre-"Caravanserai" days. Retro? Ya think? Well, original debut album alumni Santana, Rollie, Shrieve and Mike Carabello, with latter members Schon, bassist Benny Rietveld and Karl Perraza on percussion, all agreeing to revisit the past and offer up some cool Latino-fused rock. This is certain much more palatable than the recent 'supernatural' pop that padded the career but not necessarily long- time fans.

75 minutes of thrilling music played out over 16 tracks, so this is a biggie, as the band must have been quite inspired. For those of you who continue (and rightly so) to adulate the churning, roiling and burning sound of the Hammond B3, then you will undoubtedly be satiated, as Greg Rollie really pulls out all the stops on every single track. In fact, I cannot remember an album so front-loaded with organ, perhaps Niacin (Novello, Sheehan & Chambers). Within seconds of opener "Yambu", the terrific organ display kicks you in the gut, spiced up tropical chants, rampaging bass, jungle percussion, slick and thick guitars and lots of Latino drive. Then follows a cavalcade of different styles, showing the wide musical panorama within this relatively tight genre. There are some classic Afro-Latino canons , bluesy pieces , heavier rock material, smooth bliss out jams and the odd ballad , all garnished with a myriad of Carlos Santana solos , ably assisted by Neal Schon's gravellier approach.

Highlight tracks are the feverish and very sensual "Fillmore East" and its 1970-ish feel, a 7 minute+ excursion into lush sonic horizons that may recall the sweeping levels attained with "Caravanserai", a densely progressive score that showcases the dual guitars that made Santana such a powerful force back in the day. Slowly blooming arrangement and utterly sunny in disposition, this is dreamland space rock music of the highest order, with a nearly "Maggot Brain"-like feel at times. Splendid track indeed!

The delicious "Suenos " has an almost Bond-like intro followed quickly by that classic slow Latino lullaby a la "Samba Pa Ti", "Europa" and such.., an instrumental voyage into simple beauty and melodic apotheosis, elevating the urgency to blistering heights, as the sweeping organ lays down a sonic carpet of roses for Carlos to dance on, cradling and caressing his beloved guitar like only he can. Que savor!

Another matador track is the luxuriant "Blues Magic", the title spilling the beans on the reality that Carlos' musical soul is really governed by a blues guitar sensibility. He just also knows how to rock, dance, explode and rage as well. The slow burning solo here is thoroughly lethal, almost BB King-like , which frankly is the highest praise possible. Greg Rollie has this masculine bluster that suits the blues just perfectly. "Everything is alright, yeah". "Leave Me Alone" possesses that never boring bluesy trait, loaded with tchaka-tchaka percussives and a chanting "Oh oh oh" that cries out ,"baby don't go", a completely addictive sing-along masterpiece that one can never tire of, Rollie flirting with organ indecency as his fingers do the talking. The emerging guitar solo is all trouble, rage, anger and pain rolled into one.

Couple of electrifying instrumentals in "Echizo", an extremely guitar-centric piece from Neil Schon , featuring those upward spiraling vortex solos that defy gravity let alone technique. The flamenco-like "You and I" is gentle panacea, an island of shimmering gorgeousness, the ornate piano now playing its romantic role perfectly, a fabulous Rollie composition.

For diversity's sake, there are a couple of soul-tinged and energetic vocal pieces featuring insistent singer Ronald Isley , rekindling classic Santana pieces such as "Mirage", "When I Look Into Your Eyes" and "Transcendence", heavily dependent on smoking Rollie organ runs and the classic screeching Santana guitar wail. Both "Love Makes the World Go Round" and "Freedom In Your Mind" are rabble-rousing and spirited pieces, full of energy and spice, enthralling and intoxicating.

Some obvious winks at the past as "Choo Choo" has a little of the classic "Jingo", the lyrics a bit corny but the Rollie vocal is quite a treat. What he does to his organ is flat out perverse, shuffling over the ivories with raging gusto. The smooth percussive locomotive spews incredible steam, giving maestro Carlos another platform to shred hard, fast and loud on the connecting "All Aboard". Continuing the motion theme on the boisterous "Caminando", wah-wah guitar licks, rushing leads, smoky organ fills and the binary rhythm tandem punching away. Rollie's vocal is all rock 'n roll ("Let it Roll") and the Spanish chanting only adds more ethnic fusion to the mix.

The only weak piece, in my opinion, is the calypso-like "Come as You Are", with its overt tropical feel that is just a tad too commercial for my taste and also proves to be quite a different tangent than the rest of the material here. Still has some slippery axe leads that provide immense pleasure but it's not as tasty as one could hope for.

"Forgiveness" (for not having made an album like this for 40 years?) is the grand finale, as well as second longest track, arguably the most progressive thingy here (along with that "Fillmore East" jam). An exaltingly tranquil approach at first with both guitarist trading quavering notes, loads of effects and shivering percussion, this is masterful in both technique and spirit. Yes it's true the Gregg Rollie vocal is strangely like Peter Gabriel, while the instrumental display is out of worldly, at times closer to "Bridge of Sighs"-era Robin Trower. In fact, Rollie sounds a lot more like singer Jim Dewar (RIP). This is pure Santana gold, surely one of the group's finest compositions. Mucho gusto.

I never thought this retro album would ever surface as I gave up after the maudlin 1981 "Milagro" affair. Nice to have you back Carlos, Neil, Gregg and Michael. More, por favor!

4.5 petit fours