Carlos Santana’s recording career has now spanned 46 years. From his upbringing in Mexico to being the band leader of Santana,his 69th birthday today is an excellent to point out one of the qualities that likely led to his longevity as a musician. One that’s not related to him having one of the most distinctive guitar tones of the last four decades. Like many jazz musicians,Santana’s music has evolved across a number of distinct periods. His percussion heavy Latin sound has remained intact for all of them. Yet the framework’s that sound settles into are always expanding with new developments in recorded music.
During the transition from the early to mid 1970’s,the Santana band itself was was going through one such transition. Starting out as major players on the Bay Area psychedelic rock scene in San Francisco,Carlos was doing more playing with musicians such as John McLaughlin and Alice Coltrane. His interest in jazz extended into funk,always an aspect of Santana’s sound too. This year marks the 40th anniversary of the bands album Amigos, which emphasized their new jazz funk sound most prominently. One such song of this style that keeps growing on me all the time is called “Tell me Are You Tired”.
A processed Fender Rhodes two note scale,separated by a cymbal crash,begin the song. David Brown’s bass then leads the congas and percussion along with the same two note Rhodes solo through the remainder of the refrain. The upcoming chorus has two parts. One contains a massively funky drum with an equally funky Clavinet solo. The second part is built around a lively Afro Brazilian rhythm and female choir vocals. After a second refrain and chorus,an increasingly intense improvisational Rhodes solo takes over the song even as the female choir vocal end of the refrain fades out the song.
Written by the songs drummer and Leon Ndugu Chancler and it’s keyboardist Tom Coster,this song really showcases Carlos Santana’s presence as a bandleader and inspiration more than a soloing instrumentalist. Coster really takes off on this song-both on Fender Rhodes and Clavinet electric pianos accompanying Greg Walker’s lead vocals. Santana’s funkiness seems to come from him always favoring a highly collective style of instrumental band style. And the funk genre made that ethic it’s strongest emphasis. And this unsung album cut is a shining light for Santana’s funkier grooves.
Filed under 1970's, Carlos Santana, clavinet, David Brown, drums, Fender Rhodes, Funk Bass, Greg Walker, jazz funk, Leon Ndugu Chancler, percussion, San Francisco, Santana, Tom Coster
Joe Zawinul had a tremendous history in the development of hard bop jazz onto jazz fusion. He immigrated to the US from Austria in 1959. A year later he was part of Cannonball Adderley’s quintet. And he wound up being the composer of Cannonball’s best known song “Mercy Mercy Mercy”. By the late 60’s,Zawinul was playing and writing with Miles Davis on his fusion process album In A Silent Way. When he and another fellow Miles alumni Wayne Shorter formed Weather Report two years later,Zawinul was again pioneering jazz instrumentation into the era of synthesizers.
Between 1971 and 1984,Weather Report recorded 14 albums. Many of them were iconic in the annals of the fusion genre. The band was also well known for developing pioneering bass players. This included Miroslav Vitous,Alphonso Johnson and best known of all the late Jaco Pastorious. The bands final album in 1986 came totally by accident. They thought they’d fulfilled their Columbia contract with their previous album in 1985’s Sportin’ Life. This didn’t end up being the case,so they had to make one more album. And Zawinul really made it one for the road with the title song to their final album called “This Is This”.
Mino Cinelu starts off with some fast paced Afro-Latin percussion mixed up high. Peter Erksine plays a steady,marching groove that fits like a glove into the spaces left in Cinelu’s percussion. Zawinul and new bassist Victor Bailey rolled right along upfront with one of Zawinul’s most melodically hummable synth bass lines. He provides two for this song-the other a deeper 8-note one later on. Carlos Santana also provides two different guitar parts here-one is high pitched,cosmic guitar atmospherics and some of his exciting lead soloing as well playing call and response to Zawinul’s synth bass lead..
Santana actually get’s accompanied by Zawinul providing two synth brass lines-the first orchestrated big band style ones. This part comes into play after the first few choruses. On the last few choruses of the song, the other synth brass part arrives playing more succinct,funkier charts. By this time Santana’s guitar,Cinelu’s percussion,Erksine’s drums and Zawinul’s synth bass all come together in a beautiful,rhythmic unison of colorful sounds. Little by little,each instrumental element drops out of the mix. And the song slows back into percussion,bass and guitar as it fades.
Before people like Billy Preston and of course Prince,Joe Zawinul was a major pioneer of the bass synthesizers. By 1986,synth brass was the big thing in American pop music with the advent of the Minneapolis sound. With Zawinul having worked it for years,”This Is This” is a highly underrated song for Weather Report-perhaps one of Zawinul’s strongest compositions. The groove is strongly Afrocentric,and the playing is as funky as they come. It really brings out the best in ever instrumentalist involved and allowed Weather Report to go out again innovating with some electro funk style world fusion.
Filed under 1986, Afro Funk, Afro-Cuban rhythm, Carlos Santana, Columbia Records, drums, elecro funk, Funk Bass, guitar, jazz fusion, Joe Zawinul, Mino Cinelu, percussion, Peter Erksine, synth bass, synth brass, synthesizers, Victor Bailey, Weather Report, world fusion