By Norman Weinstein
Carlos Santana: A Biography explores the lifestyles and track of this notable guitarist, starting from his expert beginnings—his first usual gig used to be at a Tijuana strip club—and early luck in San Francisco to the definitive songs and albums of the Nineteen Seventies, the economic resurgence with 1999's Supernatural, his induction into the Rock and Roll corridor of reputation, and his present paintings with manufacturer invoice Laswell.Unlike different biographies, this e-book deals a complete examine Santana's transitions via a number of musical types past rock, together with blues, salsa, jazz, and international song. It additionally portrays Santana as greatly a baby of the eclectic musical tradition of the Sixties, in addition to displaying the profound impact of the recent Age move on Santana's existence and tune.
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Additional info for Carlos Santana: A Biography (Greenwood Biographies)
The blues might seem an odd part of the Carlos Santana story, a story so connected to his Mexican heritage and his fame as the ﬁrst Latin rock international superstar. ’’ And much as Carlos has acknowledged how his father drilled him musically in practicing Western classical music, he has also wryly noted his indebtedness to a different ‘‘three Bs’’: ‘‘You’d be surprised how much time I spend with the Paul Butterﬁeld band’s East-West too. That album was a major groundbreaker. The three B’s—Butterﬁeld, Bloomﬁeld, and Bishop were scary, man!
This connection between the Santana band sound and Latin dancing was a fulﬁllment of a dance and music trend of the 1950s. AN AFRICAN DRUMMER CALLS OUT TO CARLOS Babatunje Olatunji, a Nigerian drummer of great talent and showmanship, had moved to the United States in the 1950s, and Columbia Records released a highly inﬂuential recording of his African drumming, Drums of Passion, in 1959. While the widespread availability of African recordings, particularly of drumming, is taken for granted in the twenty-ﬁrst century, Olatunji’s album caused a stir on its release since it was the ﬁrst widely available commercial recording of African drumming.
King, an approach emphasizing sharply deﬁned, highly melodic, single-string runs, the musical equivalent of sharply articulated verbal jabs. Santana’s version of ‘‘Black Magic Woman’’ differs considerably from that of Green’s Fleetwood Mac. The immediate difference is rhythmic. The Fleetwood Mac version utilizes a single drummer playing a steady rock ’n’ roll beat. The Santana version is polyrhythmic, with three drummers playing interlocking rhythmic lines, mingling Latin and rock. The introductory guitar solo uses a variety of slides and hammer-ons (meaning that Carlos literally sharply fretted, hammered down the strings of his electric guitar, and then suddenly released them).
Carlos Santana: A Biography (Greenwood Biographies) by Norman Weinstein