Most rock bands enthusiastically imitate one another. Small wonder,
then, that an original and distinctive group like Santana has taken
flight like a Poseidon missile exploding out of a sea of mediocrity.
Santana triples the basic rhythmic element of rock. Flailing away in
the midst of a dozen percussion instruments, three players pound out
different sets of rhythms until the beats converge into an orgy of
machine-like energy. What makes Santana unique is the fusion of
rhythms: African, Cuban, Mexican, blues, as well as subtle Latin
ingredients whose exotic sound has rarely been heard in rock. There is nothing simple about Santana's music. The group's second
recording, Abraxas, released this week by Columbia Records, shows less
propulsive violence than the first, Santana. What it offers instead is
a rare poetic delicacy. Rhythms move in parallel layers, interrupting,
overlaying, penetrating one another, multiplying into mathematical
complexity, finally merging into one overwhelming musical thrust.
Unlike many rock groups, Santana uses lyrics rarely, avoiding cultural
ferment in favor of musical bite. Though it offers an occasional vocal
solo , most of its
featured solos are on electric guitar, organ or electric piano.
Outwardly innocent, Santana's instrumental solos are long-lined and
full of musical guile, bending, flatting and sharping with something of
the intricacy of Oriental music. The group got started in San Francisco about four years ago. It included
Pianist-Organist Gregg Rolie, Guitarist Carlos Santana, Bass Guitarist
Dave Brown and two others now departed. At first they called themselves
the Santana Blues Band and were the idol of San Francisco's heavily
Spanish Mission District. In early 1969, they were joined by Jose Areas
, Mike Carrabello and
Mike Shrieve . From the beginning, the group has been managed by
a music-struck local barber named Stan Marcum. Explains Carrabello: “Stan sold his clothes for us. He went out and cut
hair while we all stayed home and played music. He really pushed us
into it.” Two years ago, they achieved star billing at the fabled
Fillmore West without ever having made a record. They played at
Woodstock last summer; their performance in the subsequent documentary
movie—with Shrieve on drums —is one of the longest and most arresting
single acts presented. A year ago, Columbia Records released the first
Santana album. So far it has sold 2,000,-000 copies and has earned the
group $300,000 in royalties. Street Kids. After an appearance at Tanglewood last month, Gregg Rolie
listened to the shrieks coming from the crowd of 17,432 packing the
Music Shed and spilling over the lawns. “That's what 1 want to hear,” he said. “There are symphony people out there.” The
group follows a heavy rehearsing and concert schedule. Says Drummer
Shrieve: “When we don't have anything to do, we go to somebody's house
and play music. We don't consider ourselves a rock-and-roll group
even,” he adds. “We're street kids. We latch on to our environment,
make it into music and let it go.”
