Carlos Santana - All That I Am Rar REPACK
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There is fire in this performance, especially on the older classics such as "Black Magic Woman/Gypsy Queen," "Oye Como Va," and the ferocious "Incident At Neshabur." The newer material from that period fares just as well, especially "Searchin'" and the title track "Shango," which closes out this performance.
After the band's third album Santana III, that line-up dissolved. But in 1973, after two solo projects for Carlos (Live With Buddy Miles and an album with Mahavishnu Orchestra guitarist John McLaughlin) Santana reorganized the band with Areas and Shrieve, and several new members that included vocalist Leon Thomas, and later, Greg Walker. Without Rollie to do the well-recognized vocals of the band's earlier hits, Santana became a more instrumentally-driven band than it had been prior. They completely rock out on "Incident At Neshabur" and also give faithful renditions of the hits "No One To Depend On" and "Black Magic Woman" (originally recorded by Fleetwood Mac in 1968).
Carlos Santana (with the help of label exec and mentor Clive Davis) would reinvent himself and his band again the early 1990s, when Supernatural would take him back to the top of the charts. He's been paired with several popular celebrity duets that include Rob Thomas, Michele Branch, Everlast, and Wyclef Jean. In 2000, Santana walked away with an amazing eight Grammy Awards for Supernatural.
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Young blues mastermind Selwyn Birchwood displays a high degree of relevant greatness on guitar, vocals, and lap steel as well as a talent for writing innovative and insightful original music that speaks to the modern world on his album, Living In A Burning House out January 29, 2021 on Alligator Records. Produced by Grammy winner Tom Hambridge, Living In A Burning House is a career-making record that hurls Birchwood into the blues limelight with fresh sounds and ideas with a dose of respect for the past. Birchwood puts a fiery spin on blues/roots with infectious grooves and inventive style.
New era Southern rockers The Georgia Thunderbolts deliver a well-conceived and brilliantly-performed take on their genre on their debut full-length set Can We Get A Witness out October 15, 2021 via Mascot Records. They have the soul of Skynyrd and the ABB and apply it to the ins and out of modern life to end up with the kind of anthemic tracks that are pushing rock music back towards the mainstream as we speak. Powerful stuff.
Grammy-nominated, BMA-winning soul crew Southern Avenue throw down a genre-bending mindblower with their new record Be The Love You Want out August 27, 2021 on Renew Records/BMG. The band puts funk, soul, gospel, R&B, and blues together in an exciting, masterful way that demands to be experienced. Israeli-born guitarist Ori Naftaly comes up with the tunes and lets lead vocalist Tierinii Jackson and the rest of the band help launch them into orbit. This record represents the future of soul music in a way few others have been able to match and needs to be heard by everyone who thinks that matters.
Renowned blues/soul/rock guitarist and vocalist Tommy Castro brings home a big winner with his recent set A Bluesman Came to Town: A Blues Odyssey out September 17, 2021 on Alligator Records. Written and produced with Grammy-winner Tom Hambridge, the record is a concept album about a youthful farmhand who learns to play guitar and falls hard for the blues. Through it all, Castro wields a hot guitar and pumps out vocals that are authentic and engaging. Castro is widely known as one of the best; records like this are one of the reasons why.
The increasing utilization of eighth-note laden rock rhythms by Tony Williams and later Jack DeJohnette, the studio use of electric guitarists Joe Beck and George Benson, as well as the studio introduction of the electric piano, and the gradual stretching of the form and harmonies of standard tunes were all signs that change was in the air and perhaps irrevocably so.
I have always thought that the real significance of Bitches Brew is that it represented the final stage of a long-developing process of change and evolution for Miles. Inspired and impelled by the creative advances of his sidemen from 1963 to 1969, and aware of the trend-breaking represented by the music of Eddie Harris, Josef Zawinul, and John Handy as well as other jazz musicians who were reflecting their roots and the popular music of the times, Miles embraced the challenge of change. Further influenced by the dynamism and the accessibility of the music of James Brown, Sly Stone, and Jimi Hendrix, Miles made Bitches Brew the dramatic crossing of his Rubicon, and in so doing he erased all paths back to his past.
Perhaps there is no better example of this than the fact that the Miles Davis of the 1950s and most of the 1960s believed in recording the music as it was played, warts and all. Rarely did his bands record more than three takes of a composition and in most instances, Miles preferred to go with the first cut because of the spontaneity and freshness.
Bitches Brew, however, revealed a new recording attitude in Miles Davis in that he and producer Teo Macero began to view the studio and all its technological options as another instrument. As a result, to an extent wholly unprecedented in his career, Miles began to edit more, to play with the actual sequences of solos, and to search more for a mood and a feeling than for the perfect solo from his sideman and himself.
© 2023 Mosaic Records - Home for Jazz fans!. Mosaic Records is an American jazz record company and label established in 1982 by Michael Cuscuna and Charlie Lourie. It produces limited-edition box sets that are available only by mail.[1] The sets are leased from the major record companies, usually for a three- or five-year period, with the edition limited to a specific number of copies typically 5,000.
Of the many Janis Joplin bootlegs out there in the wild, there's one that holds a special importance for diehard fans. The Typewriter Tape, recorded in 1964 with guitarist Jorma Kaukonen (Jefferson Airplane, Hot Tuna), captures an early Joplin at a pivotal moment, just after her folk-autoharp phase and just before joining Big Brother & the Holding Company.
The Typewriter Tape would go on to attain mythic status, and, as is the norm for bootlegs, the details of its existence have been distorted over the years. In advance of PBS' broadcast of the documentary Janis: Little Girl Blue, I decided to go to the source: Jorma Kaukonen himself, who spoke to me from his ranch in Ohio about that day in 1964, when his wife was typing a letter in the background and he casually recorded some favorite folk-blues songs with an unknown girl from Texas.
That's a good question. My intersection with Janis was fortuitous for me on many levels. She was one of the great blues voices of my time, without question -- I knew that the first time I heard her. To be able to play with her was such an honor. Now, people often say, "You played with Janis," as if we were a duo or touring band or something. It really wasn't like that. When Janis would come down the peninsula and she needed somebody to play with her, then I would play with her. We did a benefit together at the Coffee Gallery in San Francisco. But most of the time, I played with her down the peninsula, whether it was the Tangent in Palo Alto, or the Offstage in San Jose.
I went, "Wow. It'll be like I'm back in New York or in Washington, DC." I grabbed my guitar and somehow I got a ride over to San Jose to First Avenue, near First and Edwards. And in that first weekend that I was there, I met Janis, and a guy named Richmond Talbot, who's passed away since, and Jerry Garcia and Pigpen. I think Herb Pedersen might have been there with the Dry Creek Ramblers. A whole host of people that became known later on were there at this little hole-in-the-wall coffeehouse that first weekend.
Being backstage with all these people in this little room the size of a closet, I met Janis and we got to talking. I'd just flown up from the East Coast. We realized that we had some music in common. She asked if I wanted to back her up. The songs that she wanted to do, if I didn't already know them, were sort of intuitive anyway. So that's what we did.
I've sort of gotten to know Janis' sister Laura a little bit, and what Laura's told me is that Janis was always reinventing herself. The Janis that I knew was that Bessie Smith, bluesy Janis -- and to be honest with you, that's my favorite Janis. When we found that that was the center at that moment of our universe, we just fit together. With me and Janis, like I said, I didn't know her well personally, but we loved the music. Janis was always great any time I was around her, because it was always about the music and we both loved it so much.
Keep in mind, this is '64. I was barely 23 years old. We were much more innocent I think than a lot of young people today at that age, on many levels. This was pre-hippie, so Janis was sort of a beatnik demimonde. By the time we recorded the Typewriter Tapes, I was married and living in a house. 2b1af7f3a8
