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CARLOS SANTANA

Jazz Rock/Fusion • Mexico


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Carlos Santana biography
In parallel to the group's career, Carlos has been releasing solo albums for projects he thought were out of the scope of his group and for collaborations with other artistes. Such collaboration have been with John McLaughlin, Alice Coltrane, Buddy Miles and his brother are stellar and progressive and always positive jazz-rock.

Truth is that the boundary between his group and his solo discographies is that clear, but to those who have a good knowledge of his music. And for the proghead this solo career is just as interesting as the group's discography. Fusion albums such as Love Devotion Surrender or Illuminations are highly regarded by jazz-rock fans and jazz buff fans alike.




Why this artist must be listed in www.progarchives.com :
Inalienable from the group's career.



Discography:
Live Carlos Santana and Buddy Miles - 72
Love, Devotion, Surrender - 73
Illuminations - 74
Oneness, Silver Dreams - Golden Reality - 79
Swing of Delight - 80
Havana Moon - 83
Blues for Salvador - 87
Brothers - 93

Carlos Santana official website

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Love Devotion SurrenderLove Devotion Surrender
SBME SPECIAL MKTS. 2003
Audio CD$2.52
$4.02 (used)
Carlos Santana & Buddy Miles! Live!Carlos Santana & Buddy Miles! Live!
SBME Special Markets 1994
Audio CD$2.53
$2.43 (used)
Havana MoonHavana Moon
SBME SPECIAL MKTS. 1988
Audio CD$2.96
$2.95 (used)
CaravanseraiCaravanserai
Import
Imports 2010
Audio CD$2.92
$2.22 (used)
Blues For SalvadorBlues For Salvador
SBME SPECIAL MKTS. 1987
Audio CD$2.84
$6.00 (used)
WelcomeWelcome
Extra tracks · Remastered
Sony 2003
Audio CD$9.99
$0.99 (used)
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CARLOS SANTANA shows & tickets


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CARLOS SANTANA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

CARLOS SANTANA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.98 | 86 ratings
Love Devotion Surrender (with John McLaughlin)
1973
4.18 | 55 ratings
Illuminations (with Alice Coltrane)
1974
3.44 | 25 ratings
Oneness, Silver Dreams - Golden Reality
1979
3.50 | 26 ratings
The Swing of Delight
1980
2.15 | 25 ratings
Havana Moon
1983
3.23 | 26 ratings
Blues for Salvador
1987
3.42 | 22 ratings
Brothers
1994
4.02 | 8 ratings
Carlos Santana, Divine Light (reconstruction and remix by Bill Laswell)
2001

CARLOS SANTANA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.11 | 23 ratings
Carlos Santana And Buddy Miles! Live!
1972
4.05 | 3 ratings
John McLaughlin & Carlos Santana - A Live Supreme, Live at Chicago 1973
1974

CARLOS SANTANA Videos (DVD, Blu-ray, VHS etc)

4.05 | 3 ratings
Live At The 1988 Montreaux Jazz Festival with Wayne Shorter
2005

CARLOS SANTANA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Viva Santana! (The Santana Brothers)
2000
4.00 | 1 ratings
Original Album Classics (Illuminations...)
2010

CARLOS SANTANA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

CARLOS SANTANA Reviews


Showing last 10 reviews only
 Love Devotion Surrender (with John McLaughlin) by SANTANA, CARLOS album cover Studio Album, 1973
3.98 | 86 ratings

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Love Devotion Surrender (with John McLaughlin)
Carlos Santana Jazz Rock/Fusion

Review by admireArt

4 stars A first time studio collaboration between two "enlightened" and virtuous guitar players, playing a cheerful and full of a "show of hands" rendition of John Coltrane's 1964, own kind of prayer , which went by the name of "A Love Supreme".

The best part, besides the obvious intention of the concept, is precisely the "clash" of styles, the "original" composition diversifies into. Somehow the album launches from there to a variety of songs, that some are independent of Coltrane's composition and highlight themselves because of the same. These songs in turn, make this work, sound richer in musical ideas and approaches.

A well balanced combination between Santana's "latin" flavor blended with the "all converted" Indo/Raga/Jazz of McLaughlin's "transformed" guitar and his approach of playing. Both musicians respect each other, but the "concept" and orientation of the music they emulate (religious like), has as a performing requirement, to be played with the innermost "JOY" you are able to achieve.

So, expect a show of hands, a blend of styles, a focused concept and goal, that although it could be tendentious by them or pre-judiced by new listeners, it is neither exclusive nor pretentious. In fact the Jazz tagging helps, considering, it contains a fair amount of impro like heartfelt, energetic performances by every member of the ensemble (lots of percussions).

I might even think, John Coltrane will happily approve on, these guitarist's rendition of his famous recording. ....I myself still hold it in my music collection. ****4 PA stars.

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 Illuminations (with Alice Coltrane) by SANTANA, CARLOS album cover Studio Album, 1974
4.18 | 55 ratings

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Illuminations (with Alice Coltrane)
Carlos Santana Jazz Rock/Fusion

Review by Eetu Pellonpää
Special Collaborator Honorary Collaborator

5 stars A really singular and holy recording from Carlos Santana, who sadly in my opinion has got his fame from commercial productions too often left on levels of secular Latin partying, in spite of the spiritual devotion of the maestro himself - I agree though that the world would be sadder place without secular Latin partying. Maybe the contrast to his radio hits also makes his spiritual recordings shine ever more brightly. This symphonic celestial revelation, conjured with Alice Coltrane and other ace musicians like Dave Holland and Jack DeJohnette, really reaches the heights only by angel's wings one can venture. Album mingles together the jazz impressionism, Santana's unique psychedelic guitar tones and harmonies from both European and Indian classical music elements, forming an unique apparition of beauty.

The voyage begins from the meditative aphorism of Carlos' Guru "Love is God's life-bless within us". The chant and this recitation directs the orientation towards religious mystic experiences, being embodied first by two visions of angels, one for air and another of water. Alice's string arrangements, Dave's firm and soft bass lines with ethereal waves from the cymbal plates allow the angels speak trough Santana's fingers upon his guitar's frets. I felt special enjoyment from the ethereal background of this movement for Carlos to play, instead of the strong rhythm presence I often have found dominating his major albums. The harp motive from Alice possibly changes the seraph of airs to the one from waters, cinematopic symphony layers strengthening her blissful characteristics. Saxophone of Jules Broussard is also allowed to have quite much space, and the composition waves calmly from celestial peaks to peaceful moments of all-devouring god's love. The portraits of these elementary heralds lead to the bliss of infinity being realized from the current moment, everlasting in the history from now on. This powerfully orchestrated ethereal sequence swirls with vastness of ecstatic confrontation of universal eternity. The divine movement holds only quite light emphasis for the guitar, allowing much space for piano, harp and symphonic orchestra's string powerful dramatics. The third angel holds the element of sunlight, conjured from oriental circling themes and grandiose yearning of amplified solo guitar call, being answered from Indian drums and bow-played upright bass prayers. The sonic carpet rich with mythical details is revealed after few minutes for more concrete melodic solo passages for guitar, saxophone and keyboards, powered by Jack's identifiable drum turmoil and solidly flowing jazz bass foundation. A really shimmering quart of an hour, the merging of solo instruments leading to the culmination peak opening the gates for the spiritual target of the voyage; Illuminations on sublime piano and string borne symbol of religious hope are decorated with gentle symbols of Carlos and Alice's tonal art.

Though slightly naïve and syrupy like religious and mystic encounters might be, the yearning for happiness and infinity is evidently transmitted from the harmonic yearnings of the closing tune. I like very much Carlos' earlier work with McLaughlin on their "Love Devotion Surrender", but however I adore the charms of this religious record even more, maybe due the presence of sacred feminine mystics uniting with power of masculine potential, these contrasting powers allowing more harmonic potentials being realized on this unique album.

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 Love Devotion Surrender (with John McLaughlin) by SANTANA, CARLOS album cover Studio Album, 1973
3.98 | 86 ratings

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Love Devotion Surrender (with John McLaughlin)
Carlos Santana Jazz Rock/Fusion

Review by Tom Ozric
Prog Reviewer

4 stars Welcome to a guitar lover's paradise !! SANTANA meets MAHAVISHNU ORCHESTRA. These two lead guitar virtuosos, Carlos Santana and John McLaughlin, put together this tremendous album in respect to John Coltrane and their very own religious beliefs. Along for the ride are some members from their respective bands, Billy Cobham, Don Alias and Jan Hammer (all on the drums !!), Larry Young (organ) Armando Peraza and James (Mingo) Lewis (perc.) and Doug Rauch (bass). The album features 3 blistering extended jams - Coltrane's 'A Love Supreme', McLaughlin's 'The Life Divine' and a traditional piece 'Let Us Go Into The House Of The Lord', as well as 2 shorter acoustic pieces - another Coltrane piece with 'Naima', and McLaughlin's 'Meditation'. One thing I admire is how these talented musicians have transcribed traditional Jazz works into rocking balls of fire. Vocals are sparsely used, mainly repetitive chanting, but subtle. The double whammy of the guitarists, with their own distinctive sound and stylings, shine brightly throughout, but it's the effervescent rhythm work that lays the precisely textured groundwork which allows the dynamic duo to trade licks in a most carefree, and dare I say it, indulgent, fashion that doesn't outstay its welcome. They must've had a truly spiritual experience doing this recording. Young's tastefully tonal Hammond work adds a beautiful dimension to all this, resulting in an album that's always a pleasure to return to. Highly recommended.

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 Love Devotion Surrender (with John McLaughlin) by SANTANA, CARLOS album cover Studio Album, 1973
3.98 | 86 ratings

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Love Devotion Surrender (with John McLaughlin)
Carlos Santana Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

3 stars The combination of Carlos Santana and John McLaughlin, together with members of both men's respective bands, producing an album revisiting the music of John Coltrane proves to be less than the sum of its parts. The fusion treatment of Coltrane's works is interesting, but can hardly stand up to Coltrane's original performances - I personally find that, perhaps because they were composed long before the fusion revolution, the songs fit much better in an older tradition of experimental jazz and don't translate well to a fusion treatment. As for the original pieces, you're left with the impression that both men were keeping the best material back for their day jobs. An interesting collaboration, but not an essential one.

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 Brothers by SANTANA, CARLOS album cover Studio Album, 1994
3.42 | 22 ratings

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Brothers
Carlos Santana Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

4 stars I like this album much more than most of Carlos Santana's later material. It actually features guitar excellence over cheesy pop songs, where Santana can excel. And he shares the spotlight with his brother Jorge, and Nephew Carlos Hernandez.

The album starts with a fiery guitar intro by all three family members, a good omen for this set. The album then settles in to a mixture of latin rock, reggae, and fusion style rock tunes. The compositions are very loose. It seems that they were more interested in coming up with riffs that they could solo over, rather than much orchestrated instrumentation. That's not a bad thing. The three all play with a similar rich style, that makes this set work.

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 Brothers by SANTANA, CARLOS album cover Studio Album, 1994
3.42 | 22 ratings

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Brothers
Carlos Santana Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars Quite rare Carlos Santana solo album (first in 7 yrs after "Blues For Salvador"). OK, not purely solo release - with "Brothers" (guitarists Jorge Santana and Carlos Hernandez). But anyway, more solo release than Santana's band album.

The album opens with serious guitar fusion composition "Transmutation/ Industrial" and for a moment new listener can expect experimental jazz fusion album in a manner of his duets with McLaughlin or Alice Coltrane. No, it was opener only - but what a pleasant moment!

Starting from album's second composition everything returns to its places: Latin rock and Latin fusion supported by three guitarists. Sound is almost minimalistic - drums and percussion on some songs (Carlos plays percussion himself as well) and bassist Myron Dove on opener. But I think it is a good decision - great Latin guitar sound without over-production sounds better in 90-s than wall of sound for sure.

All melodies are catchy,soulful and you will easily recognize Carlos electric guitar on every song. OK, even if some moments will remind you Santana's early Latin blues rock, you will always feel that this album comes not from early 70-s: sound is more mellow and polished.

Album is full-instrumental (what is more plus than minus for Santana's works from 90-s). For sure, this is three guitarist albums, then don't expect complex sound of different instruments. Latin soulful melodies and Carlos guitar sound are both more important there than musicianship virtuosity.

Somewhere in the middle of the album you will possibly realize that songs all are melodic and soulful, but a bit ... similar to each other. Yes, Santana for years use similar tricks and melodies, and starting from late 70-s you will hardly find his album with concentrated musical material. More often there are one-two great songs, and all other professional material to fill the space.

This album is not much different, but the difference is filling material there is of better quality than usual. At the end of listening you will hardly remember any separate song, but all them will sound similar - and nice.

Last album's song "Morning In Marin " is a bit different again - aerial down tempo composition, but farf from excellent. I think nine energetic melodic soulful Latin rock/fusion compositions in line (between album's opener and the last song) are too much, and to add two three compositions of different speed,rhythm and sound in between would be a big advantage. But - we have what we have: best Santana's album from 90-s, and pleasant listening especially for Latin rock/fusion music fans.

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 Carlos Santana And Buddy Miles! Live! by SANTANA, CARLOS album cover Live, 1972
3.11 | 23 ratings

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Carlos Santana And Buddy Miles! Live!
Carlos Santana Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

4 stars This album quite often is criticized by Santana band's fans. I can understand why, but cant agree in full. First of all, it is first Santana's live album, and first his solo album as well. Then, it is not band's work, but his solo one (ok, more duet with Buddy Miles).

Album was recorded during one concert in Honolulu and never changed too much in studio. So, you have raw and true ,almost documental early live Santana's music sound. Unhappily, recording sound quality isn't good enough.

Music itself is a bit different from Santana band's music, and ,even using some Santana's songs and many elements of his style, in fact are something as Hendrix Band Of Gypsies play with Santana on guitar instead of Jimmi.

Result is long, slightly psychedelic compositions with BOG drummer on vocals. More r'n'b and funky, than Latin rock based. All B -side is one long funky jam. All musicians play very inspired, even if music isn't too complex.

Possibly music there is too different from early Santana Band's albums, but it is really very interesting for fans of jamming, Santana's more jazzy-funky side.

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 Illuminations (with Alice Coltrane) by SANTANA, CARLOS album cover Studio Album, 1974
4.18 | 55 ratings

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Illuminations (with Alice Coltrane)
Carlos Santana Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

4 stars Beside Santana band"s great success in early 70-s, band's leader Carlos Santana released series of solo duets. He started with not very successful live recorded album with Buddy Miles, then released excellent duet with John McLaughlin. This album is third and last in this series.

This time Santana plays with Coltrane 's widow Alice, strong string musician and arranger on her own right. Music is very different from usual Santana band's and solo recordings, and is highly influenced by free-jazz and Indian music. As a result, this recording is possibly most difficult and less accessible album in all Santana career. But there you can hear Carlos can play!

In fact this album received disappointing critics and fans reaction from time of release. Millions of fans waited melodic Latin rock or Santana's guitar driven hot jazz-rock. But music there is very different. Meditative, with strong oriental scent, free-form, it was never accepted by wide listener. But it's a big mistake, because only hear every listener has a rare possibility to hear Santana playing excellent, but very different guitar music. Complex structures and absolutely different guitar sound give great possibility to hear Carlos as real jazz fusion musician.

This instrumental album generally has nothing in common with nice but stereotype Carlos guitar sound signature. If you're searching for one more "classic" Santana's guitar solo, just chose his any other album. But this one is for those interested in delightful and very different great guitarist sound and searching for Santana's most serious musical work till now.

Very recommended for everyone who is not sure if Santana is great JAZZ-ROCK musician.

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 Brothers by SANTANA, CARLOS album cover Studio Album, 1994
3.42 | 22 ratings

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Brothers
Carlos Santana Jazz Rock/Fusion

Review by cataclysta

3 stars I marked this album with 3 stars but probably it should be at least 3,5. On the other hand Santana fan could say that it deserves 4 stars.

Three great guitars by three great musicians: Jorge Santana, Carlos Hernandez and finally Carlos Santana. I always enjoy listening to this album. It is truly a guitar feast. VERY MELODIC, mostly instrumental album. Characteristic Santana sound with Spanish influences. You can hear here both electric and acoustic parts.

I also like the strong guitar on the first track Transmutation/Industrial or on eight track Brujo (for me it is like Joe Satriani sound from his 1995 album Joe Satriani).

If you are a fan of Carlos Santana you will like this album very much. If you like guitar albums it is also a music for you.

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 The Swing of Delight by SANTANA, CARLOS album cover Studio Album, 1980
3.50 | 26 ratings

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The Swing of Delight
Carlos Santana Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

4 stars Father of Santana who was violin player. And, it devotes oneself to Blues that moves to San Francisco at one's teens and went out each other. Influence in Latin Jazz , for example, Cal Tjader. And, it influences it from the part , for example, Gabor Szabo. In the part of the nucleus that bore the music character of Santana, there might have been various respects and diversitys.

It creates concerning Latin Jazz-Rock as the band and the expression is well-known true from 1968. he of courseThe philosophy and the thought pursued with shape to devote oneself from the flow further appeared remarkably by the work of Santana Band. It might have been reflected in the music character with the form to which competing of Alice Coltrane and John MacLaughlin also promoted the thought and the philosophy further.

The establishment of the music character that Santana had cultivated in own band was expressed enough with the directionality. The work that had been announced in the 70's might have offered the music character established as a compilation of one and originality enough. And, the work that splendidly offers a true really musician he is this album.

It is likely to be able to count as a part of indeed high-quality Latin Jazz-Rock if it thinks about the music character of the band that he was doing for the listener and the fan in the 70's. However, the part of special might be indeed had both in this album as a work that can be satisfied of catching from width and another angle of the music character that Santana has and the expressions. And, there might be a lot of fans to enumerate this album as a good work as a work that can be satisfied of the depth of the interior of the music character of Santana.

This album exists as an album located between "Zebop" announced in "Marathon" and 1981 announced in 1979. And, it succeeds in splendidly making the taste of the musician who participated in this album an embodiment by music. The point that should make a special mention is a point where the music character of Santana is consistently steady. And, the point that Santana approaches Jazz/Fusion with this album. And, it unites and it is flexible with V.S.O.P. Quintet. The fact that approached Jazz/Fusion refined as a result might have offered the extension of the width of the music character of Santana though an of course familiar, worked by the band of Santana deep musician had been appointed. The height of the quality of the reaction, the idea to listen, and the arrangement is , in each music ..valuable... It might be an album where the element of Jazz/Fusion that Santana thinks about appears remarkably exactly.

"Swapan Tari" is a tune of Sri Chinmoy of the spiritual guide in India to which Santana devoted oneself. The melody that is reminiscent of elements of a few Spanish might be splendid. The work of the synthesizer contributes to the tune very much. And, shuffling rhythmically of Tony Williams that supports the performance. The obbligati of Herbie Hancock might be his exactly sound. Dash feeling in which complete space is created. Solo of Santana also shows respect besides own band. Solo of Wayne Shorter that appears after repeating the theme with expression of feelings merges completely in the tune. The performance and the composition are overwhelming.

The guitar of Santana expresses a famous melody with expression of feelings in "Love Theme From Spartacus". The sound of the keyboard with a transparent feeling and twining of the guitar are splendid. And, the part of Latin to which the taste of Santana is expressed well twines well. The part where soprano Sax of Wayne Shorter in close relation to the rhythm of Latin that Harvey Mason establishes is good is produced. And, Solo of Santana to get on the line of steady Bass that Ron Carter makes continues atmosphere.

"Phuler Matan" is a tune by Sri Chinmoy. It advances with the atmosphere of the fantasy and intoxication from the melody with expression of feelings to make good use of an acoustic guitar. The tune rushes into the part of the tension by performing V.S.O. P. The quality is improved while mixing the part where flamenco is reminiscent and the part of standard Jazz.

"Song For My Brother" might be a tune that is reminiscent of the music character to listen by "Moonflower". The impression approaches Jazz/Fusion. The melody to feel the sorrow is accompanied. The unison and the obbligati of the keyboard twine well, too.

In "Jharna Kala", an impressive melody in close relation to the dash feeling in which it runs completely about the space is a feature. The rhythm of fast Latin might twine round a philosophical theme and an advanced composition be splendid. Processing of line of Bass that keeps Solo of exploding Sax and steady dash feeling. The performance combines including Solo of the keyboard. The work of Herbie Hancock makes an indeed good flow. The tune keeps the tension and receives the top.

"Gardenia" might be a tune in which the expression of feelings of Santana is remarkably reflected. It is ..composition in which the atmosphere of Samba and Bossa Nova is taken to the melody that gives the relief.. finished. V.S.O. P to answer the creation of Santana performance contributes indeed well. Each player's taste is splendidly exactly expressed. Melody and theme. And, it is very a pretty tune including Solo.

The taste of Santana Band has gone out of "La Llave" well. The sound of a percussion instrument and a gentle guitar twines round the song that Alex Ligertwood is good. The composition with a bright melody is music for Santana. The performance in close relation to the rhythm with the part of Montuno and Cha-Cha is steady well.

"Golden Hours" is a tune for Latin and Fusion to unite splendidly completely. It might be one of the highlights of this album. Each player's taste is completely drawn out. The melody of good Fusion for the rhythm of Latin twines. Theme of unison of guitar and flute. Obbligati of keyboard. And, it is partial of splendid Solo of the flute. Or, it is partial of the anacatesthesia of the keyboard. Complete atmosphere is produced. The part and the oneness of the theme that the guitar alternately plays with the flute are splendid. And, it is partial of the percussion instrument and Cuica to get on Hi-Hat of the melody and 16 notes with the tension. And, the tune completely receives the top. The fight with the guitar of Santana and the synthesizer of Herbie Hancock offers overwhelming ability.

"Shere Khan,The Tiger" produces a complete anacatesthesia and a transparent feeling. Atmosphere that different respect is taken to the music character of Santana is produced. This tune is collected to "Atlantis" that Wayne Shorter announced in 1985. It will have the composition in which the part of Weather Report is reminiscent. The composition in which a dream stage is produced might have good atmosphere.

It might be an album that feels the width of the music character of Santana splendid. It is a work with another side that Santana that approached the field of Jazz/Fusion with ability exactly showed.

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