Santana in Indianapolis, 2010
July 20, 1947 |
Autlán de Navarro, Jalisco, Mexico
|Origin||San Francisco, United States|
Carlos Santana (born July 20, 1947) is a Mexican and American musician who first became famous in the late 1960s and early 1970s with his band, Santana, which pioneered a fusion of rock and Latin American music. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2003 Rolling Stone magazine listed Santana at number 20 on their list of the 100 Greatest Guitarists of All Time. He has won 10 Grammy Awards and three Latin Grammy Awards.
- Early life 1.1
- Early career 1.2
- Record deal, Woodstock breakthrough and height of success: 1969–72 2.1
- Caravanserai 2.2
- Shifting styles and spirituality: 1972–79 2.3
- The 1980s 2.4
- Return to commercial success 2.5
- Influences 3
- Guitars and effects 4.1
- Amplifiers 4.2
- Personal life 5
- Discography 6
- Memoir 7
- Awards and nominations 8
- References 9
- Sources 10
- Further reading 11
- External links 12
Santana was born in Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana, the city on Mexico's border with California, and then San Francisco. Carlos stayed in Tijuana but later joined his family in San Francisco, graduating from James Lick Middle School, and in 1965 from Mission High School. Carlos was accepted at California State University, Northridge, and Humboldt State University, but chose not to attend college.
Santana was influenced by popular artists of the 1950s such as Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, Cee Lo Green, Maná, Dave Matthews, K. C. Porter, J. B. Eckl, and others.
However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last #1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. Supernatural reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B duo The Product G&B, also hit number one, spending ten weeks there in the spring of 2000. Supernatural eventually sold over 15 million copies in the United States, making it Santana's biggest sales success by far.
Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted as an individual, into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night.
In 2000, Supernatural won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens", from the album Invincible.
In 2002, Santana released Shaman, revisiting the Supernatural format of guest artists including P.O.D. and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch, rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group The Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals.
In early August 2003, Santana was named fifteenth on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".
On April 21, 2005, Santana was honored as a BMI Icon at the 12th annual BMI Latin Awards. Santana was the first songwriter designated a BMI Icon at the company's Latin Awards. The honor is given to a creator who has been "a unique and indelible influence on generations of music makers."
In 2005, Herbie Hancock approached Santana to collaborate on an album again using the Supernatural formula. Possibilities was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, fellow Latin star Shakira invited Santana to play the soft rock guitar ballad "Illegal" on her second English-language studio album Oral Fixation Vol. 2.
In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album 90 Millas, on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night". He also played guitar in Eros Ramazzotti's hit "Fuoco nel fuoco" from the album e².
In 2008, Santana was reported to be working with his longtime friend, Marcelo Vieira, on his solo album Acoustic Demos, which was released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter said to feature heavy melodic riffs by Santana.
Carlos Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Carlos Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje. With a 2.5-hour long concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" was played at The Hard Rock hotel in Las Vegas, where it was played through 2011.
Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One to Depend On" is included in game, which was released on September 1, 2009. More recently, in 2011, three Santana songs were offered as downloadable content (DLC) for guitar learning software Rocksmith: "Oye Como Va", "Smooth", and "Black Magic Woman/Gypsy Queen".
Santana, since 2007, has opened a chain of upscale Mexican restaurants called "Maria Maria". It is a combined effort with Chef Roberto Santibañez. They are located in Tempe, Arizona; Mill Valley (now closed), Walnut Creek, Danville and San Diego; Austin, Texas; and Boca Raton, Florida.
In 2012, Santana released an album Shape Shifter consisting of mostly instrumental tracks.
On May 6, 2014, his first ever Spanish language album Corazón was released.
Around the age of eight, Santana "fell under the influence" of blues performers like B.B. King, Javier Bátiz, and John Lee Hooker. Gábor Szabó's mid-1960s jazz/gypsy guitar work also strongly influenced Santana's playing. Indeed, Szabó's composition "Gypsy Queen" was used as the second part of Santana's 1970 treatment of Peter Green's composition "Black Magic Woman", almost down to identical guitar licks. Santana's 2012 instrumental album Shape Shifter includes a song called "Mr. Szabo", played in tribute in the style of Gábor Szabó. Santana also credits Jimi Hendrix, Mike Bloomfield, Hank Marvin and Peter Green as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a biography of Bloomfield, Michael Bloomfield: If You Love These Blues – An Oral History in 2000.
Guitars and effects
Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival. During the time between the release of Abraxas and Santana III (1970–1972), he used different Gibson Les Pauls and a Black Gibson SG Special. From 1976 until 1982 his main guitar was a Yamaha SG 175B, and sometimes a white Gibson SG Custom with 3 single coil pick-ups. In 1982 he started to use a custom made PRS Custom 24 guitar. In 1988 PRS Guitars began making Santana signature model guitars, which Santana has played through its various iterations ever since (see below).
Santana currently uses a Santana II model guitar fitted with PRS Santana III nickel covered pickups, a tremolo bar, and .009-.042 gauge D'Addario strings. He also plays a PRS Santana Multidimensional (MD) The Santana guitars feature necks made of a single piece of mahogany topped with Rosewood fretboards (some feature highly sought-after Brazilian Rosewood). This helps create the smooth, singing, glass-like tone for which he is known.
Santana Signature Models:
- PRS Santana I "The Yellow"(1988)
- PRS Santana II "Supernatural" (1999)
- PRS Santana III (2001)
- PRS Santana SE (2001)
- PRS Santana SE II (2003)
- PRS Santana Shaman SE-Limited Edition (2003)
- PRS Santana MD "The Multidimensional" (2008)
- PRS Santana Abraxas SE-Limited Edition (2009)
- PRS Santana SE "The Multidimensional" (2011)
Santana also uses a classical guitar, he used the Alvarez Yairi CY127CE with Alvarez tension nylon strings, in the last years from 2009 he uses custom made, semi-hollow Toru Nittono's "Model-T" Jazz Electric Nylon.
Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron wah wah pedal (or, more recently, a Dunlop 535Q wah and a T-Rex Replica delay pedal. then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets.
Previous setups include an Ibanez Tube Screamer right after the guitar. He is also known to have used an Electro Harmonix Big Muff distortion for his famous sustain. In the song "Stand Up" from the album Marathon (1980), Santana uses a Heil talk box in the guitar solo. He has also used the Audiotech Guitar Products 1x6 Rack Mount Audio Switcher in rehearsals for the 2008 "Live Your Light" tour.
Santana uses two different guitar picks: the large triangular Dunlop he has used for so many years, and the V-Pick Freakishly Large Round.
Carlos Santana's distinctive guitar tone is produced by PRS Santana signature guitars plugged into multiple amplifiers. The amps consist of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Santana compares the tonal qualities of each amplifier to that of a singer producing head/nasal tones, chest tones, and belly tones. A three-way amp switcher is employed on Carlos's pedal board to enable him to switch between amps. Often the unique tones of each amplifier are blended together, complementing each other producing a richer tone.
He also put the "Boogie" in Mesa Boogie. Santana is credited with coining the popular Mesa amplifier name when he tried one and exclaimed, "That little thing really Boogies!"
Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home.
During his early career Santana used a GMT transistor amplifier stack and a silverface Fender Twin. The GMT 226A rig was used at the Woodstock concert as well as during recording Santana's debut album. During this era Santana had also begun to use the Fender Twin, which was also used on the debut and proceedingly at the recording sessions of Abraxas.
Carlos Santana became a naturalized US citizen in 1965.
On October 19, 2007, his wife of 34 years, Deborah Santana, filed for divorce citing "irreconcilable differences".
Carlos Santana became engaged to drummer Cindy Blackman, after proposing to her during a concert of the Universal Tone Tour at Tinley Park in Chicago, Illinois, on July 9, 2010. The two were married in December 2010. They currently live in Las Vegas.
Carlos Santana has 3 children: Salvador, Stella, and Angelica.
- Love Devotion Surrender (1973)
- Illuminations (1974)
- Oneness – Silver Dreams Golden Reality (1979)
- The Swing of Delight (1980)
- Havana Moon (1983)
- Blues for Salvador (1987)
- Santana Brothers (1994)
On November 4, 2014, his memoir, The Universal Tone: Bringing My Story to Light was published. ISBN 978-0-31624-492-3
Awards and nominations
|1973||"Caravanserai"||Best Pop Instrumental Performance – With Vocal Coloring||Nominated|
|1988||"Blues for Salvador"||Best Rock Instrumental Performance (Orchestra, Group Or Soloist)||Won|
|1993||"Gypsy/Grajonca"||Best Rock Instrumental Performance||Nominated|
|1996||"Every Now And Then"||Best Rock Instrumental Performance||Nominated|
|2000||"Smooth"||Record of the Year||Won|
|Best Pop Collaboration with Vocals||Won|
|Supernatural||Album of the Year||Won|
|Best Rock Album||Won|
|"Maria Maria"||Best Pop Performance by a Duo or Group with Vocal||Won|
|"El Farol"||Best Pop Instrumental Performance||Won|
|"The Calling"||Best Rock Instrumental Performance||Won|
|"Put Your Lights On"||Best Rock Vocal Performance by a Duo or Group||Won|
|"Love of My Life"||Best Pop Collaboration with Vocals||Nominated|
|2002||"The Game of Love"||Best Pop Collaboration With Vocals||Won|
On December 29, 2013, Carlos Santana became a Kennedy Center Honoree.
- Carlos Santana: I’m Immortal interview by Punto Digital, October 13, 2010
- Shapiro, Marc, "Carlos Santana: Back on Top”, pages 57–58, St. Martin’s Press, ISBN 0-312-26904-8, 2000.
- Levy, Joe; Steven Van Zandt (2006) . "205 | Abraxas – Santana". Rolling Stone's 500 Greatest Albums of All Time (3rd ed.). London: Turnaround. ISBN 1-932958-61-4. OCLC 70672814. Archived from the original on November 6, 2007. Retrieved March 9, 2006.
-  Archived March 18, 2014 at the Wayback Machine
-  Archived May 22, 2013 at the Wayback Machine
-  Archived May 8, 2015 at the Wayback Machine
- Soul Sacrifice; The Carlos Santana Story Simon Leng 2000
- Space Between The Stars Deborah Santana 2004
- Rolling Stone "The Resurrection of Carlos Santana" Ben Fong Torres 1972
- New Musical Express "Spirit of Santana" Chris Charlesworth November 1973
- Guitar Player Magazine 1978
- Rolling Stone "The Epic Life of Carlos Santana" 2000
- Santana I – Sony Legacy Edition: liner notes
- Abraxas – Sony Legacy Edition: liner notes
- Santana III – Sony Legacy edition: liner notes
- Viva Santana – CBS CD release 1988; liner notes
- Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra Walter Kolosky 2006
- Best of Carlos Santana – Wolf Marshall 1996; introduction and interview
- Chipley Slavicek, Louise. Carlos Santana, Chelsea House Publications or Facts on File, 2006, 119 p., ISBN 0-7910-8844-8
- Leng, Simon. Soul Sacrifice: The Santana Story, Firefly-S.A.F. Publishing, 2000, 224 p., ISBN 0-946719-29-2. Republ. as Santana, Catedra, 2002, ISBN 84-376-1947-5
- McCarthy, Jim; Ron Sansoe, Ron, foreword by Carlos Santana. Voices of Latin Rock: The People and Events That Created This Sound, Omnibus Press, 2004 and Hal Leonard Publishing, 2005, 316 p., ISBN 0-634-08061-X
- Miller, Hal; Santana Debbie; Faulkner, John (ed.), w/ a foreword by Bill Graham. Santana: A Retrospective of the Santana Band's Twenty Years in Music, San Francisco Mission Cultural Center, 1987 or 1988, 50p., no ISBN. Includes a 4-p genealogical tree w/ the members's name for every Santana band from 1966.
- Molenda, Michael (ed.). Guitar Player Presents Carlos Santana, Backbeat Books, 2010, 124 p., ISBN 978-0-87930-976-3
- Remstein, Henna. Carlos Santana (Latinos in the Limelight), Chelsea House Publications, 2001, 64 p., ISBN 0-7910-6473-5
- Shapiro, Marc. Carlos Santana: Back on Top, St-Martin's Press, 2000 and 2002, 288 p., ISBN 0-312-28852-2
- Sumsion, Michael. Maximum Santana: The Unauthorized Biography of Santana, Chrome Dreams, 2003, ISBN 1-84240-107-6. A CD-audio biog
- Weinstein, Norman. Carlos Santana: A Biography, Greenwood Press, 2009, 152 p., ISBN 978-0-313-35420-5
- Woog, Adam. Carlos Santana: Legendary Guitarist, Lucent Books, 2006, 104 p., ISBN 1-59018-972-8
- Official website
- Milagro Foundation
- Information about Carlos Santana
- Concerts online at Wolfgang's Vault
- Music Carlos Santana
Return to commercial success
In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year he made a guest appearance on Ottmar Liebert's album, Solo Para Ti (1991), on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992 Santana hired jam band Phish as his opening act.
Although the band had concentrated on trying to produce albums with commercial appeal during the 1980s, changing tastes in popular culture began to reflect in the band's sagging record sales of their latest effort Bob Geldof to allow the band to appear at the festival. The group's high-energy performance proved they were still a top concert draw the world over despite their poor performance on the charts. Santana regained a great deal of respect in both jazz and rock circles, with Prince and guitarist Kirk Hammett of Metallica citing him as an influence.
The band Santana returned in 1987 with a new album Freedom.
Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Viva Santana! double CD compilation. That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai (1972). Santana released another solo record, Blues for Salvador (1987), which won a Grammy Award for Best Rock Instrumental Performance.
More radio-friendly singles followed from Santana and the band. "Winning" in 1981 (from Zebop) and "Hold On" (a remake of Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album Havana Moon revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, The Fabulous Thunderbirds, Willie Nelson and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the tragically short life of rock and roll legend Ritchie Valens and starred Lou Diamond Phillips.
The pressures and temptations of being a high-profile rock musician and requirements of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded were in conflict, and imposed considerable stress upon Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought were the unreasonable rules that Chinmoy imposed on his life, and in particular with his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982.
The relative success of the band's albums in this era allowed Santana to pursue a solo career funded by CBS. First, Oneness: Silver Dreams – Golden Reality, in 1979 and The Swing of Delight in 1980, which featured some of his musical heroes: Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams from Miles Davis' legendary 1960s quintet.
The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the new personnel who joined was current percussionist Raul Rekow, who joined in early 1977. Most notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 double album Moonflower.
Santana, along with Tom Coster, producer David Rubinson, and Chancler, formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album Amigos, which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana to the charts. In 1976 Rolling Stone ran a second cover story on Santana entitled "Santana Comes Home".
By this time, Bill Graham's management company had assumed responsibility for the affairs of the group. Graham was critical of Santana's move into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, streetwise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted.
A collaboration with John Coltrane's widow, Alice Coltrane, Illuminations (1974), followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist, Jules Broussard for the lineup. The band recorded one studio album Borboletta, which was released in 1974. Drummer Leon "Ndugu" Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career.
In 1973, Santana, having obtained legal rights to the band's name, Santana, formed a new version of the band with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana later was able to recruit jazz vocalist Leon Thomas for a tour in Japan on July 3 and 4, 1973, which was recorded for the live, sprawling, high-energy triple vinyl LP fusion album Lotus (1974). CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and Lotus was available in the U.S. only as an expensive, imported, three-record set. The group later went into the studio and recorded Welcome (1973), which further reflected Santana's interests in jazz fusion and his increasing commitment to the spiritual life of Sri Chinmoy.
Shifting styles and spirituality: 1972–79
When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a "Top 40" act. Nevertheless, over the years, the album would achieve platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' Rolling Stone 1972 cover story "The Resurrection of Carlos Santana".
In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both contributed to the session. Rolie returned home to Seattle, and later became a founding member of Journey (which Schon would later join as well).
In January 1972, Santana, Schon, Escovedo, and Lewis joined former Band of Gypsys drummer, Buddy Miles, for a concert at Hawaii's Diamond Head Crater, which was recorded for the album Carlos Santana & Buddy Miles! Live!. The performance was erratic and uneven, but the album managed to achieve gold-record status on the weight of Santana's popularity.
Tension between members of the band continued, however. Along with musical differences, drug use became a problem, and Santana was deeply worried that it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru, due to student protests against U.S. governmental policies and unruly fans. The madness of the tour convinced Santana that changes needed to be made in the band and in his life.
Teenage San Francisco Bay Area guitar prodigy Neal Schon was asked to join the band in 1971, in time to complete the third album, Santana III. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and other session musicians which added to both percussion and vocals, injecting more energy to the proceedings. Santana III was another success, reaching #1 on the album charts, selling two million copies, and yielding the hits "Everybody's Everything" and "No One to Depend On".
Consolidating the interest generated by their first album, and their highly acclaimed live performance at the Woodstock Festival in August 1969, the band followed up with their second album, Abraxas, in September 1970. The album's mix of rock, blues, jazz, salsa and other influences was very well received, showing a musical maturation from their first album and refining the band's early sound. Abraxas included two of Santana's most enduring and well-known hits, "Oye Como Va", and "Black Magic Woman/Gypsy Queen". Abraxas spent six weeks at #1 on the Billboard chart at the end of 1970. The album remained on the charts for 88 weeks and was certified 4x platinum in 1986. In 2003 the album was ranked number 205 on Rolling Stone magazine's list of the 500 greatest albums of all time.
In 1969, the band's performance at the Woodstock festival introduced them to an international audience and garnered critical acclaim, although the band's sudden success put pressure on the group, highlighting the different musical directions in which Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had been a key component in establishing the band from the start. Santana, however, was increasingly interested in moving beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music, which were influenced by his fascination with Gábor Szabó, Miles Davis, Pharoah Sanders, and John Coltrane, as well as his growing interest in spirituality. At the same time, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate.
Bill Graham, a Latin Music aficionado, had been a fan of the band from its inception, and arranged for them to appear at the Woodstock Music and Art Festival before their debut album was even released. They were one of the surprises of the festival; their set was legendary and later the exposure of their eleven-minute instrumental "Soul Sacrifice" in the Woodstock film and soundtrack album vastly increased their popularity. Graham also gave the band some key advice to record the Willie Bobo song "Evil Ways", as he felt it would get them radio airplay. Their first album, Santana, was released in August 1969 and became a huge hit, reaching #4 on the U.S. album charts, with the catchy single "Evil Ways" reaching number nine on the Billboard Hot 100.
Santana was signed by CBS Records and went into the studio to record their first album. They were not satisfied with the release and decided changes needed to be made. This resulted in the dismissal of drummer Bob Livingston. Santana replaced him with Mike Shrieve, who had a strong background in both jazz and rock. Percussionist Marcus Malone was forced to quit the band due to involuntary manslaughter charges, and the band re-enlisted Michael Carabello. Carabello brought with him percussionist Jose Chepito Areas, who was already well known in his country, Nicaragua, and, with his skills and professional experience, was a major contributor to the band.
Record deal, Woodstock breakthrough and height of success: 1969–72
With their highly original blend of Latin-infused rock, jazz, blues, salsa and African rhythms, the band (which quickly adopted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to him signing a recording contract with Columbia Records, then run by Clive Davis.