RECENTLY, OMNIVORE RECORDS HAS REISSUED A COLLECTION OF ALBUMS FEATURING THE CAREER OF GUITARIST JORGE SANTANA. BROTHER OF CARLOS SANTANA, JORGE HIMSELF HAS CARVED OUT AN IMPRESSIVE CAREER AS ON OF THE FOUNDING MEMBERS OF THE LATIN JAZZ-ROCK GROUP MALO, WHO HAD A GIGANTIC HIT WITH ‘SUAVECITO’ AS WELL AS A HANDFUL OF HIGHLY SUCCESSFUL ALBUMS.
AFTER THAT GROUP, SANTANA HAS CARRIED ON WITH AN IMPRESSIVE SOLO CAREER, WHICH HAS BEEN HIGHLIGHTED BY THE RECENTLY REISSUED PAIR OF HIS FIRST RELEASES.
WE RECENTLY HAD A CHANCE TO CATCH UP WITH MR. SANTANA, AND HIS REFLECTIONS OF THE FLEDGLING DAYS OF LATIN JAZZ-ROCK ARE INSIGHTFUL AS WELL AS INSPIRING.
I WASN’T INTO MALO WHEN YOU GUYS FIRST CAME OUT, BUT THIS “BEST OF” ALBUM REALLY KNOCKED ME OUT.
I’m really happy to hear that. I’m grateful that Omnivore Recordings is releasing this. It was a surprise to me. Better yet, when they remastered it the music came out alive!
It has caused me to remember those three years when we did those four albums. Because of this release, Malo Boogaloo, I’ve been talking to musicians that I haven’t seen in 30 years, from the early years of what transpired. We were all so young; I’m very happy to have been part of that legacy.
YOUR BAND HAD MUSICIANS FROM SAN FRANCISCO BANDS SUCH AS BIG BROTHER AND THE HOLDING COMPANY. WHAT WAS YOUR TEMPLATE FOR THE MIX OF LATIN, JAZZ AND ROCK, SINCE THERE WAS NO PREVIOUS MUSICAL MODEL TO WORK FROM?
The encouragement came from (my brother) Carlos. I was still in high school, and unlike Carlos who was determined with what he wanted to do with his guitar, I was still playing the blues with some friends when I was asked to join a group called The Malibus.
When The Malibus got discovered, producer David Rubinson helped us transform to a core with Arsenio Garcia, Pablo Tellez, myself and Richard Bean, who was the vocalist and co-writer of “Suavecito.” With that nucleus in the studio, Rubinson, with his vision and experience brought in other players from Janis Joplin came in for the recording.
Rubinson brought in a second guitar player (Abel Zapate) and the association with new members, caused us to rise up more into what was taking place with the Latin percussion sound.
The music was a chemistry of all of us ignited by what was already done by Carlos’ fusion and what he had stumbled on to. It spread like fire, and we were all motivated by it.
WAS YOUR INCLUSION OF JAZZ HORNS AND VOCAL HARMONIES A DECISION TO SOUND DIFFERENT FROM YOUR BROTHER’S BAND?
Our sound just naturally evolved, but I have to tell you that the whole vision was put together by the producer David Rubinson. He recorded the band and then delivered the band to Warner Brothers. He knew the direction he wanted to send us based on where we had come from, and the musicians and horn sections that he hired. He made us mature enough to go our on the road.
We four musicians from The Malibus were really young, only 18 years old. It was Rubinson who had the energy and saw how aggressively we played; he arranged it to put a focal point on the band. That’s where the vocals and horns came in.
We had Richard Kermode and Luis Gasca on trumpet from Janis Joplin. On the next album, nine months later we had Tom Harrill on board, along with Hadley Caliman and Bill Atwood. The horn section was always the top of the line jazz players740, 100%
THIS ALBUM SOUNDS LIKE THE BAND WAS PULLING INTO THREE DIRECTIONS, A SMOOTH ROMANTIC BAND WITH VOCALS (“Suavecito”) , A SMOULDERING SALSA BAND (“Pana”) AND A ROCK BAND WITH YOUR GUITAR (“Café”)
The concepts for each song was really the foundation of the band. We four were the foundation, and all of those songs, even “Peace” were very aggressive. But what really tied it all together were the horn arrangements. It’s not really the credit of one writer or musician, as we’d come up with a song, but then it would get really well arranged with the vocals and horns.
WITH SONGS LIKE “NENA” DO YOU WISH YOU HAD A CHANCE TO STRETCH OUT MORE ON YOUR SOLOS, OR DO YOU LIKE THE MORE CONCISE FORMAT?
Most of the songs on the four Malo albums were 8-10 minutes long. The whole “Nena” song is quite long and is a classic sound. It was a long jam, done in the studio. The body of the song was delivered by the bass line and basic rhythm. It’s a perfect example of how the album transpired and the song was created. We also brought in Victor Pantoja, a traditional percussionist from Cuba, second to none and very tasteful.
When you hear those congas, especially on a song like “Suavecito,” that rhythm is what really put our band over the top. It was relaxed and authentic; it wasn’t busy.
“Nena” was a long jam, and when you hear the timbales and congas going along themselves. David Rubinson edited it to make a song out of it. Back in those days the editing was with a single edge blade on a tape. I remember sitting there wondering what was going on; I would pace back and forth until he finished splicing it, and then he’d marry the parts together.
**********From the time with Malo to sitting in with Carlos, I’ve never have gone on stage with a precise solo in mind. I’m just completely improvised*********
THERE’S A RIFF AT THE END OF THAT SONG THAT IS VINTAGE SANTANA. WHO BROUGHT IT OUT FIRST, YOU OR CARLOS?
I did that double time on my own. That was just added at the end because they wanted to add a Santana feel to the song.
We were very much aware of how popular Carlos’ music was and how everyone was just taken by this fresh new sound. So all of us, even though we were not exactly copying songs or styles in our arrangements, we would stretch it out to cover a whole spectrum of sounds, as with the closing of “Nena.”
**********but there was something about playing with his band that is so energetic that there is no time to stop and think about how nervous you are. You have to be right at the moment and just dive into it. It’s a leap of faith that you take**********
DID YOU CONSCIOUSLY TRY TO SOUND LIKE YOUR BROTHER, OR WAS IT MORE THAT YOU BOTH GREW UP TOGETHER AND HAD A SIMILAR FEEL?
There were two guitarists in the band. For myself, I was too young to try to copy or mimic anyone like Carlos, Eric Clapton or Peter Green, all who I was listening to at the time.
When we did the first album, I was already hooked on the minor blues; bending the notes and getting that melody on the string to cry. It might have been subconsciously that I sounded like Carlos because I had already heard him do minor blues, and I went for that.
It all came from the minor blues. Even though we’d play the songs in a major key, the minor blues that I had just begun to learn I was adapting to that style of playing .
YOU ALSO PLAYED WITH YOUR BROTHER ON A COUPLE OF ALBUMS, MILAGRO AND LIVE.
At that time in the 90s I was working with Carlos’ management, and when he would do certain tours of South America I would be part of the entourage, having an open invitation to play guitar. I played with other bands, but there was something about playing with his band that is so energetic that there is no time to stop and think about how nervous you are. You have to be right at the moment and just dive into it. It’s a leap of faith that you take.
From the time with Malo to sitting in with Carlos, I never have gone on stage with a precise solo in mind. I’m just completely improvised.
I go on stage less prepared to have something in mind, and especially with Carlos, because even if you’ve practiced this lick or that, it’s just not going to apply. You just go there on stage to express yourself.
WHAT FUTURE PROJECTS DO YOU HAVE COMING UP?
I’m very happy what Omnivore Records has been doing with Malo. When I finished doing the liner notes for the album, I started doing some communication with the old band members.
While driving I realized that I also had two solo albums, so I rushed home and looked to see when they were recorded, 1978. I gathered all of the notes that I had for those albums, and now Omnivore will release those two albums on one cd later in the year.
ANY THOUGHTS ON REUNITING WITH MALO?
I’ve not performed with Malo for 7-8 years, due to issues as with many bands from that era. With my own band I select songs from those days; I still enjoy playing those songs.
WHAT KEEPS YOU MOTIVATED IN YOUR LIFE?
Number one is the love of family; number two is the instrument itself. Other than family, good health and peace of mind I get motivation from music.
Today is a perfect example. I had a 2-3 hour time to spend with the guitar early this morning. It got me so motivated, and it makes you realize the potential that is inside of each of us. The itch may come from a paint brush, there are many sources, but it helps us identify what is inside of us to bring out. It’s so gratifying; it’s so peaceful, better than any prescription or medication. It just rejuvenates me.
IT IS THE CLOSEST THING ON EARTH TO HAVING A RELATIONSHIP WITH GOD; A FINITE MAN TRYING TO HAVE A RELATIONSHIP TO THE INFINITE
It’s so pure, and inspirational. Of course you have to practice, but it helps you realize your own personal potential. It’s inspiring but it’s humbling.
Those are the keys, family, peace of mind, and I try to keep my life uncomplicated. There’s wisdom in learning to say “No” to things you will later regret.
CURRENTLY OVERLOOKED BY TODAYS EARS, THE 1970S LATIN SCENE WAS AN EXCITING AND EXHILARATING PERIOD OF MUSIC, WITH IDEAS AND CREATIVITY AT ITS ZENTITH. JORGE SANTANA WAS PART OF IT, AND IS STILL CARRYING THE TORCH FOR SOME OF THE MOST EXCITING GROOVES TO POP INTO YOUR 8 TRACK PLAYER! OYE COMO VA, INDEED!