In the late 1960s, when acid rock reigned and the British Invasion
was still raging, Carlos Santana and his band introduced the music scene
to a new Latin-based rock sound featuring an Afro-Cuban beat. This
would effectively usher in the concept of “world music” years before the
description would catch up with the style. After soaring in popularity
and becoming one of the biggest acts of the day, the group went through
various personnel changes, but they continued to make music together
even as Santana, finding new spiritual and musical paths, began to
record jazz fusion on his own with many other top names. Though his rock
records continued to sell vigorously, he would not have a radio hit
after 1982.
Then, in 1999, Santana became one of the most
often-heard performers on the airwaves. He teamed up with some of the
hottest young acts of the day, including Lauryn Hill, Dave Matthews,
Everlast, and Rob Thomas of Matchbox 20, along with the legendary Eric
Clapton, to produce a work that harkened back to his early Latin sounds,
but with a contemporary slant. With an irresistible hook and Thomas’s
cool vocals, the single “Smooth” began racing up the charts, and the
album,
Supernatural, sold an astonishing 14 million units. The
project overall won a phenomenal total of eight Grammy Awards, tying
Michael Jackson’s 1983 record for most Grammys won on a single night.
Some wondered if his comeback could be attributed to the sudden boom in
Latin music beginning in the late 1990s that helped create the
popularity of artists such as Ricky Martin, Enrique Iglesias, Jennifer
Lopez, and others. Santana, however, credits a force more high-minded
than a fad or marketing appeal. “It’s not really chance or luck,” he
remarked to Jeff Gordinier in
Entertainment Weekly.“It’s something more paranormal like divine synchronicity.”
Santana
was born to Jose and Josefina Santana on July 20, 1947, in Autlan de
Navarro, a small village in the state of Jalisco, Mexico. His father, a
traditional violinist who played mariachi music, exposed him to the
basics of music theory when he was five years old and tried to teach him
violin. “My father’s a musician, his father was a musician, my
great-grandfather was a musician,” he told James Schaffer in
Down Beat.San-tana
added, “Dad taught me the violin for almost seven years, and I could
never get anything out of it. I always sounded like Jack Benny no matter
how hard I tried. Only Jack Benny could really play, but I sounded like
Jack Benny when he was fooling around.”
More
interested in rock ’n’ roll than the mariachi sounds anyway, Santana
began to learn the guitar at age eight, imitating the style of greats
such as B.B. King, John Lee Hooker, and T-Bone Walker. However, he still
credits his father with teaching him to appreciate music in general.
After the family of 12 moved to the border
For the Record…
Born
on July 20, 1947, in Autlan de Navarro, Mexico; son of Jose (a
traditional violinist) and Josefina Santana; adapted religious name
Devadip (means “the light of the lamp of the Supreme”), 1973; married
Deborah Sara King, 1973; children: Salvador, Stella, Angelica.
Began
performing in Tijuana, Mexico, 1961; lead guitarist of group Santana
(founded as Santana Blues Band in San Francisco, CA), 1966; recording
artist with Columbia/CBS, 1969-91; recording artist with Polydor, 1991;
founded Guts and Grace record label, 1994; appeared at Fillmore West,
1968, Woodstock Music and Arts Festival, 1969, Altamont Festival, 1969,
California Jamil, 1978, LiveAid, 1985, first Amnesty International
concert tour, 1986, Woodstock ’94, 1994; released album
Supernatural, which won eight Grammy Awards, 1999; released
Shaman, 2002.
Awards:
Latin New York Music Awards, Latin Rock Band of the Year, 1975; Bay
Area Music Award (Bammy Award), Best Guitarist, 1976-77, 1980-81,
1994-95; Bammy Award, Best Album for
Moonflower, 1977; Bammy Award, Best Group, 1980; Grammy Award, Best Rock Instrumental Performance for
Blues for Salvador, 1988; Bammy Award, Musician of the Year, 1978, 1988, 1993;
Billboard
Century Award for distinguished creative achievement, 1996; received
star on Hollywood Rock Walk of Fame, 1996; induction, Bay Area Music
Awards Walk of Fame, 1997; Chicano Lifetime Achievement Award, 1997;
Nosotros’ Golden Eagle Legend in Music Award, 1997; induction, Rock and
Roll Hall of Fame, 1998; National Council of La Raza, Alma Award, 1999;
Grammy Awards, Record of the Year, Song of the Year, Album of the Year,
Best Pop Performance by a Duo or Group with Vocal, Best Pop
Collaboration with Vocals, Best Pop Instrumental Performance, Best Rock
Performance by a Duo or Group with Vocal, Best Rock Instrumental
Performance, 2000, Best Pop Collaboration, 2003.
Addresses:
Publicist—Jensen Communications, Inc., 230 East Union St., Pasadena, CA 91101.
town of Tijuana in 1955, he began playing in nightclubs along the strip there when he was just eleven years old.
Around
the early 1960s, Santana’s family moved to San Francisco, California,
but he soon ran away to return to Tijuana and play the circuit again.
His older brother came to retrieve him, though, and he ended up in San
Francisco with the rest of his family, where he went to Mission High
School and learned English. There he also discovered a thriving cultural
scene with a diversity of musical styles, including jazz, blues,
international folk music, and classical salsa by the likes of Tito
Puente and Eddie Palmieri.
While working full-time as a dishwasher
in a restaurant, Santana continued to play music, performing on the
street for change in the evenings and jamming with others to try to get a
band together. With mentoring from Jerry Garcia of the successful
hippie group the Grateful Dead, he quit his job. Joining with bassist
David Brown and keyboard player Gregg Rolie, he formed the Santana Blues
Band, eventually abbreviating the name to simply Santana.
In the
thriving scene of the San Francisco area in the 1960s, new bands were
sprouting up all the time, so it was not easy to get noticed. For three
years, Santana played small clubs around town, particularly in the
Mission District, a predominantly Hispanic area. Before long, though,
promoter Bill Graham noticed their unique sound and began to book them
at his Fillmore West and Winterland clubs. Blending an Afro-Cuban beat
with a fast-tempo rock and blues base and low-key vocals, Santana
created the new style of Latin Rock.
Although
they were approached by several record companies in the late 1960s, the
band declined a contract. Therefore, when they played for half a
million people at the legendary Woodstock festival in 1969, they did not
even have an album out. There, they performed a piece titled “Soul
Sacrifice,” written specifically for the event. By now Santana included
drummer Mike Shrieve and percussionists Jose Chepito Areas and Mike
Carrabello. After getting a warm reception at Woodstock, they were
booked on the popular
Ed Sullivan Show, then signed to Columbia Records by the end of the year. Their first effort,
Santana, stayed on the
Billboard charts for two years, eventually selling more than four million copies. It spawned the hits “Evil Ways” and “Jingo.”
The next year, 1970, Santana continued to ride a wave of success, releasing its second hit album,
Abraxas.
This featured the classic rock staples “Oye Como Va” (written by Tito
Puente) and “Black Magic Woman” (penned by Peter Green), and went
platinum in sales. In 1971, the group had a gold album with
Santana III, and in 1972 it saw platinum again with
Caravanserai.
Meanwhile, Santana became more fond of jazz, and recorded his first
effort without the rest of the band in 1972, pairing up with Buddy
Miles. The band also began to experience a shift in members, as
musicians came and went from the group. Guitarist Neal Schon had joined
in 1971 and later left, along with original member Rolie, to form
Journey. Eventually, Santana was the only initial member who remained.
After
the much-publicized drug-related deaths of several prominent musicians
in the late 1960s and early 1970s, including Jimi Hendrix, Janis Joplin,
and Jim Morrison, Santana began to reassess his lifestyle. He had
skyrocketed to fame in a short time, like the others, and found himself
indulging in the familiar trappings of a rock star, including excesses
of drugs and casual sex. Finding a religious path, he became a devoted
follower of Sri Chimnoy, a spiritual guru and proponent of meditation.
In August of 1973, he changed his name to Devadip (meaning “the light of
the lamp of the Supreme”) Carlos Santana. In April of that year, he
married Deborah Sara King, founder of a health food shop in San
Francisco and daughter of a guitarist known for his work with blues
singer Billie Holiday. The couple has three children, Salvador, Stella,
and Angelica.
Through his association with Sri Chimnoy, Santana
got to know guitarist Mahavishnu John McLaughlin. Together they created a
spiritual jazz-fusion album,
Love, Devotion, and Surrender,
released in 1973. Throughout the 1970s, Santana would release four more
albums with spiritual themes, recording without his band but in
collaboration with others such as Ron Carter, Herbie Hancock, and Wayne
Shorter.
By the
mid-1970s, Santana began to drift back toward his Latin rock sound.
Promoter Graham took over as his manager in 1975, and he began to record
again with the group, even though Santana himself found more meaning in
his spiritual efforts. Despite the fact that all of the group’s works
continued to hit either gold or platinum, they did not have another
top-ten hit until 1976’s
Amigos. After that, CBS records re-signed San-tana to a seven-album contract.
During
the 1980s, Santana and the band recorded less frequently, only putting
out five albums throughout the decade. However, they toured
prolifically, selling out stadiums and appearing at high-profile events
like LiveAid, the US Festival, and on the first Amnesty International
concert tour. He also helped organize the “Blues for Salvador” concert
in Oakland, California, in 1988, which benefitted children in El
Salvador. That year, he won a Grammy Award for Best Rock Instrumental
Performance for “Blues for Salvador.” 1988 was especially active as he
toured with saxophonist Wayne Shorter and also embarked on a tour with
the original Santana band members Rolie, Areas, and Shrieve, who had not
played together since the early 1970s. In addition, in 1988 he released
a 30-song retrospective album which featured previous hits as well as
unre-leased studio tracks, live cuts, and sound checks.
Back in
1982, Santana discontinued his association with Sri Chimnoy, and he and
his wife converted to Christianity in the early 1990s. In 1992, ending
his lengthy association with Columbia, Santana signed a deal with
Polydor Records which included forming his own label, called Guts &
Grace. John Swenson in
Rolling Stone called Santana’s first effort for this label,
Milagro,
“one of the finest sessions he’s done,” and added, ’The album reaffirms
Santana’s position as the standard-bearer for fusion music.” In 1993,
he toured with folk icon Bob Dylan, and in 1996, he toured with guitar
great Jeff Beck. Though Santana still sold seats, he noticed that radio
stations no longer played any of his music besides his early hits, and
the media was not paying him much attention. He received a star on the
Hollywood Rock Walk of Fame in 1996, but it would take him until 1998 to
be inducted into the Rock and Roll Hall of Fame.
Therefore, by the late 1990s, Santana was looking for a comeback. He explained to Andy Ellis in
Guitar Player
that in his meditation and dreams, he had received instructions telling
him the following: “We want you to hook up with people at junior high
schools, high schools, and universities. We’re going to get you back
into radio airplay.” He felt his music could have a positive effect on
youth of the day. Along with producer Clive Davis, who had first signed
him to his contract at Columbia in the 1960s, Santana devised a plan. He
told David Wild in
Rolling Stone, “I didn’t want Santana to
sound like a Seventies jukebox. I wanted to be relevant today or as
Wayne Shorter would say, ’Completely new, totally familiar.’”
Though
many acts were not interested in working with someone they perceived to
be old and washed-up, Santana, working with his band, managed to
assemble a collection of some of the biggest talents in the industry,
including Lauryn Hill, Wyclef Jean, Eagle Eye Cherry, Dave Matthews, Rob
Thomas of Matchbox 20, Evertasi, and the Dust Brothers, producers for
Beck and the Beastie Boys. Even Eric Clapton made an appearance. The
result was 1999’s
Supernatural, which reached number one on the
Billboard album chart and generated the number-one single, “Smooth.”
Supernatural
also became one of the most critically acclaimed CDs of the year and
sold 14 million copies by 2003. The title, Santana told an
Entertainment Weekly
interviewer, “deals with the paranormal relationship between Lauryn
Hill, Eric Clapton, and myself. Most of my collaborators said, ’I knew I
was going to work with you because you were in my dreams.’”
Surprisingly,
Supernatural got nearly all of its airplay on pop
and rock radio, with little support from Latino stations, despite the
fact that five of the tracks are in Spanish.
In February of 2000,
Santana won a whopping total of eight Grammy Awards, including Record of
the Year for “Smooth,” and Album of the Year and Best Rock Album for
Supernatural. He also won an American Music Award that year for Best Album. He waited three years to release
Shaman, his follow-up album to the phenomenon that was
Supernatural. Santana followed the same blueprint that led them to success with
Supernatural,
assembling a stellar group of popular musicians to contribute to the
album. Musiq, Seal, Michelle Branch, Dido, Placido Domingo, and many
others make appearances on the album.
All Music Guide reviewer
Stephen Thomas Erlewine praised the album, but noted that with such a
large ensemble of players, its success may stem from “reasons that have
nothing to do with Santana.”
For Santana, it is not about the
recognition as much as it is touching people with his art. “I want my
music to clue my listeners into something beyond the song itself,” he
once related to Dan Ouellette in
Down Beat. “For example, this
guy who had considered suicide wrote me a letter. He had seen the video
of John Lee Hooker performing ’The Healer’ and it inspired him to seek
another way of dealing with his problems. Now that’s more important to
me than how many Grammys I get or how much money I could make selling
Pepsi.”
Solo
(With Buddy Miles)
Carlos Santana & Buddy Miles! Live!, Columbia, 1972.
(With Mahavishnu John McLaughlin)
Love, Devotion, Surrender, Columbia, 1973.
(With John Coltrane)
Illuminations, Columbia, 1974.
Oneness, Silver Dreams-Golden Reality, Columbia, 1979.
Swing of Delight, Columbia, 1980.
Havana Moon, Columbia, 1983.
Blues for Salvador, Columbia, 1987.
Spirits Dancing in the Flesh, CBS, 1990.
With the group Santana
Santana, Columbia, 1969.
Abraxas, Columbia, 1970.
Santana III, Columbia, 1971.
Caravanserai, Columbia, 1972.
Welcome,Columbia, 1973.
Greatest Hits, Columbia, 1974.
Borboletta, Columbia, 1974.
Lotus, Columbia, 1975.
Amigos, Columbia, 1976.
Festival, Columbia, 1976.
Moonflower, CBS, 1977.
Inner Secrets, Columbia, 1978.
Marathon, Columbia, 1979.
Zebop, Columbia, 1981.
Shango, Columbia, 1982.
Beyond Appearances, Columbia, 1985.
Freedom, Columbia, 1987.
Viva Santana!, Columbia, 1988.
The Sound of Carlos Santana, Pair, 1989.
Milagro, Polygram, 1992.
Sacred Fire, Polydor, 1993.
Brothers, Polygram, 1994.
Dance of the Rainbow Serpent, Columbia, 1995.
Live at the Fillmore 1968, Sony, 1997.
Best of Santana, Columbia, 1998.
Supernatural, Arista, 1999.
Shaman, Arista, 2002.
Books
Dictionary of Hispanic Biography, Gale Research, 1996.
Newsmakers, Issue 2, Gale Group, 2000.
Periodicals
Arizona Republic, January 18, 2000, p. A10.
Down Beat, January 1981, p. 13; February 1988, p. 16; August 1991, p. 28.
Entertainment Weekly, September 10,1999, p. 151; December 24, 1999, p. 36; October 25, 2002, p. 73.
Guitar Player, January 1993, p. 58; January 1996, p. 61; August 1999, p. 74.
Hispanic, October 1992, p. 80; March 1996, p. 18.
Knight Ridder/Tribune News Service, March 22, 2002; October 2, 2002
;
Latin Beat, September 1999, p. 20.
Music & Media, November 9, 2002, p.3.
Newsweek, February 14, 2000, p. 66.
Rolling Stone,
February 21, 1980, p. 26; September 22, 1988, p. 27; August 24,1989, p.
65; September 3, 1992, p. 68; December 9, 1993, p. 24; October 28,
1993, p. 30; August r9, 1993, p. 47.
Star Tribune(Minneapolis, MN), February 8, 2000.