Reviewed by Oscar Moreno, photos courtesy of Sam Totah
At long last, what to me these shows have been leading up to was a reunion of the Classic Santana Woodstock Lineup!! This was a Santana Band fan’s wet dream if there ever was one!! So much to say about the Greg Rolie Band set but first, a little info on the rest of the evening.
According to an indie review of the venue, “Bimbo's looks and feels like an old mobster/rat-pack joint,” It seats 2100 and is about as intimate and cozy a venue as you’re ever gonna find to house this amalgamation of Latin Rock legends. The added pleasure of seeing so many familiar faces in the audience at what is now the third year into these things adds a heightened sense of enjoyment.
The evening performances commenced with the annual onslaught of gorgeous Samba dancers from SF. If they don’t register on your Richter Scale you need to consult a physician! But I digress …prior to the dancers coming out I worked my way up towards the front to check out Armando Peraza’s table. Many musicians throughout the evening were making their way their to pay their respects to the man.
On my way up I noticed Rolie was standing at a side door checking out the venue when suddenly Carlos also came out and joined him. I was taken aback a bit just to see these two famous musicians just chillin’ on the sidelines surveying the action. I’m comfortable in most social situations but I gotta admit I was dumbfounded to even dare approach them as they stood together and vainly attempt to utter some sense of verbal admiration for their legacy.
La Ventana, a local Bay Area Salsa Pop group followed a terrific group of drummers with some “easy to the ears” material but I must be frank and admit I don’t own their music so it was all new to me. Talented experienced artists, they were most fortunate to have the opening slot for the evening.
Kings of Latin Rock Awards winners were Jose Simon (unable to attend), Eddie Duran, and Benny Velarde (Cal Tjader alumni) and a heartwarming introduction and presentation to Armando by Carlos. A terrific slide show of his musical retrospective accompanied by “Dance Sister Dance” on the house system. I would love to own a copy of that! It was proof on the screen of the variety of musical activities that comprise the musical journey of Armando. Fantastic.
The slide show was followed by a sincere heartfelt induction and presentation by Carlos himself. In white knit cap, slacks and a multi-colored Michael Rios pull-over, he gave a “Buenas Noches” to the crowd then referring to Armando, “ with deep respect, admiration for John Lee Hooker, BB King, Tito Puente, and Bill Graham on a whole other level” he referred to Armando as his “spiritual teacher and trainer.” He spoke of how he first met him while Armando played with Cal Tjader at the Matador Club in the early 70’s. He recalled one of his greatest lessons from Armando, “El Maestro de los Maestros,” “ You are nothing unless you are an individual first.”
Cool highlight: Armando, Eddie Duran (guitar), and Benny Velarde (timbales) together jamming on Guachi Guaro! These gentlemen, though a tad frail, exemplified how playing music can be a lifelong passion with dignity. Though the bongos were on a stand, it did my heart wonders to once again witness Armando doing what he does best. Wow!
Vernon Black’s All Star band featured a plethora of local musical luminaries including Bill Ortiz, Karl Perazzo, Billy Johnson, and Greg Errico. They did a cool version of Jungle Strut featuring some serious whammy bar action by Vernon, and a tribute to James Brown that set the house on fire.
After his initial tune Booker T. came out with a nice slow and easy verson of Time Is Tight before jumping into the more well-known original tempo. When he was making his way off the stage there were cheers of “Green Onions!!” He turned around and sat his bad self behind the B3 and started the intro while Mr. Black and what appeared to be a stage manager (clipboard in hand) seemingly discussed the time schedule. Now, this is just my impression and I could well be wrong:
Were they discussing that time in fact was up for Mr. Jones on stage? No se.
But I do know this: the band was looking at Mr. Black for a cue on whether to join in with Booker. Booker stops playing, stage manager and Vernon Black end their discussion, a glance back over to Booker and “Green Onion”s is on with now the full band jumping in as they are supposed to. Now, they may well have been running behind schedule, I don’t know but my thought is this: Who could ever tell Booker T. NOT to play Green Onions?!! Maybe someone out there knows whassup wit dat!!
Lenny Williams joined the All Stars for rousing versions of Don’t Change Horses and What Is Hip. The man’s voice and technique are still impeccable with that beautiful high tenor tone you’ve heard on classic Tower of Power recordings. He called out to trumpeter Mic Gillette sitting in to play that famous intro of “You’re Still A Young Man.” Killer, I tell ya. Unfortunately, much to the dismay of the crowd the band hadn’t rehearsed the tune so it was not played. Total tease if there ever was one!!
In keeping with my prior review on Malo at the Chicano Art Exhibit,
they once again ripped up on Nena and Cafe. Jorge and Carlos on the
same bill ... too much!!
Herbie Herbert came out and introduced Greg Rolie and gave wonderful retrospective on his major contributions to latin rock.
Neal Schon sat in with Rolie’s group to open up with “ No One To Depend On.” This featured Rolie, Schon, and Greg Errico, who by the way though Sly Stone’s original drummer, was a co-writer of this tune along with Carabello and Rico Reyes so it was cool to see him actually perform it in concert. Why Neal didn’t get to play this with Carlos is another matter. Though Kurt Griffey is an extremely talented and highly skilled guitarist, why Carlos didn’t come out and play on this tune is a big question mark.
In fact, after this tune Neal concluded his performance and Rolie called out Carlos to join the group. He came out with incense and a document from which he read how he and his family went to South Africa and noted they have something we don’t here in the US … “ High, moral leadership. I didn’t vote for that PENDEJO!!” The audience roared loudly with approval and laughter.
With that Carlos said, “ Hit it, Greg!” and then, like no one else, Rolie commences the intro to Black Magic Woman oozing out of the leslie speakers. Now, I’ve seen Rolie’s band a few times, I’ve heard Santana do this more than I can count over the last 30 some odd years, but NOBODY plays this like these two. Classic B3 and steady as she goes!! No rushing, no staccato notes on a synth patch, no “Let’s-get-this-one-done-and-on-to-the-next tunes” approach.
By this time Shrieve is on drums, Carabello on congas, and Adrian Areas on timbales. I’m thinking this is as good as it gets. Chepito, though a sentimental fave for myself and countless others , has some unpredictability programmed into his hardware so I’m not counting on him showing up or joining in, for that matter.
So like, hey, picture this will ya: I’m with Sam Totah and his entourage to my left, my two best buds, Jesus and Phil, my Santana pal Ray Valderrama who has been so gracious and generous over the years at these events along with his crew, and we’re all at the foot of the stage watching these guys jump into this classic like we were in somebody’s living room (albeit a damn nice one, mates!). I’ve been to tons of civic centers, amphitheaters, arenas, stadiums, Winterlands, Fillmores, and God knows what else to see and hear Carlos and whatever latest incarnation that comprises the Santana Band. Our main man always hires top knotch players but those of you multi-decade fans out there know what I’m talkin’ bout when I say, we’re watching four of the original members flowing into this Iconic song penned by Peter Green. IMHO, Black Magic Woman is supposed to have breathing space and a flowing feel to it and no matter how many great singers the Santana Band has had lo these many years, we’re talkin’ vintage delivery here. Sam’s picture gives you an idea how cool it was to see Carlos hangin’ with Rolie by his B3 to kick off this unit. Like all of you, I’ve seen Carlos play BMW with passion, but I’ve NEVER been 15 to 20 feet away watching him in the zone with Rolie.
Gypsy Queen segued in to Oye Como Va with Rolie’s classic, classic Am7 D7 intro. This stuff was made for Hammond Organs and Rolie has the coolest voicings on that instrument. Carlos would lean into Rolie to share his mic on the chorus and the requisite “ooh!”s !! He gave Rolie’s guitarist space to solo during the tune and coaxed the bassist (not Alphonso Johnson) to give up the goods. It maybe a simple bass line but it must have feeling and huevos to be Oye Como Va.
When that concluded Soul Sacrifice was the order of the day complete with Shrieve’s solo. Who would have thought almost 40 years later his solo could still command it’s coveted spot on this Woodstock anthem? Shrieve is a class act and delivered on all counts. Twice while Carabello played Carlos would join in on one of his congas and overlap beats as he smiled. These guys go back to high school and are still true to their calling of jamming on these primal street rhythms. Man! As Carabello soloed Carlos fanned him with a towel suggesting “ Cool this cat down!”
These well known classics may have simple chord progressions from a 40 year retrospective, but the feel and energy required to play them by THESE players gives them life in a way that helps you appreciate how at the time of their initial release, no one else on the planet sounded like them.
Upon the conclusion of this short but sweet set, Chepito came down off of his riser and approached Carlos. They embraced as they uttered words to each other. Whatever the longstanding differences between these men, Carlos expressed the compassion many would find difficult to cultivate. Hopefully this is the start of something great musically but if not, at the very least they are on a better wavelength for the moment.
I have no clue whether a performance like this will ever occur again. I’m extremely grateful to have been in the room and to have finally experienced the Original Santana sound in a small venue with cherished proximity to the stage in San Francisco, no less, where it all began. Would I have loved to have seen Neal Schon sit in with Carlos? You bet!! Song of the Wind perhaps? Hey, we were all lucky enough to have witnessed what we did. Perhaps that’s too much to hope for. But then again, so was this terrific show thanks to the Voices of Latin Rock to Benefit Autism.
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Special individuals of noteworthy mention in the audience: Sal Valentino of the 60’s group, The Beau Brummels and Don Wehr of Don Wehr’s Music City. Check out old Santana and Malo LP’s and you’ll see that store referenced many times.
BMW seques into Gypsy Queen and suddenly at the start of the timbale solo, Chepito has found his way onto the riser and is nudging Adrian off has only a father could physically move his kid outta the way. Now, I have no clue whether Chepito was invited but I do know there were a lot of surprised expressions on stage, to the side of the stage, and audience members in my vicinity. When Carlos looks up and sees Chepito he makes his way over to stand before him and directly faces him, running off some flourishes from his PRS and cranking his whammy bar as if to communicate, “Well, now that you’re here are we gonna do this thing or what?” Chepito was so startled he jumped back from his timbales a few steps. A stunned look if there ever was one. Let’s just kindly say this founding member as some issues and personal demons he’s had to deal with over the course of his life and his legacy with Santana is something he clings to as a major part of his identity. Now, he’s up there again with the groundbreaking sound and save for David Brown, the personnel that created it. Was Chepito gonna rise to the challenge or tube the whole thing in front of everyone? It was drama unfolding big time before our very eyes! He got off the timbales and Adrian took over again continuing the solo. Chepito forcibly manuevered his way behind the timbales again and his son was resigned to giving up his spot. I don’t know if Chepito can play a complete set any more but he played an admirable solo and the band gave him his spotlight.