Sacred Fire: Santana’s Best Playing?

After the first three albums in the late ‘60s and early ‘70s (Santana by Santana, Abraxas, and Santana III), the band become more notorious for their live show than for the many albums that were released. (Until 1999’s Supernatural, that is, which ushered in a whole new phase of Carlos Santana’s career.)

During that nearly 30-year span, Carlos, in the studio and on the road constantly, reached the pinnacle of his playing. Nowhere is that supreme skill showcased better than on the band’s concert album Sacred Fire: Live in South America, released in 1993.

He had finally achieved his legendary smooth tone, his chops were exemplary, and he was quite cognizant of the guitar’s role within each song. Besides, the band — featuring the dynamite percussion duo of Raul Rekow (congas) and Karl Perazzo (timbales, congas) — was in top form as well.

Especially gratifying is the dominant role that percussion was still playing within the framework of the music. (Post-Supernatural, percussion has been placed far back in the mix.)

A perfect example of Santana’s melodic wizardry is that album’s version of “Europa,” arguably the best of the many recordings of the iconic instrumental. For six minutes and change, Carlos builds a guitar solo that is a work of art.

If you haven’t heard it, Sacred Fire is well worth checking out.

PRS SE Santana -- Wow!

Guitar companies have a tough job. Players hear top-notch gear used by their favorite artists, but often those instruments are priced out of range for the average musician.

Every once in a while, though, some company finds the perfect balance between quality materials and construction, and a cost that puts it in reach of many players. Paul Reed Smith’s new SE Santana Model is such a guitar.

Together, Carlos Santana and the Paul Reed Smith guitar company have spent more than 30 years honing in on the exact features and materials that Carlos wanted in a guitar. Along the way, they have offered several different “high-end” signature models to the public. At prices ranging from $3,000 to more than $8,000, those guitars were simply not practical for many of the guitarists who may have wanted them.

On the other side, the “lower-end” Santana signature models — Santana “SE” guitars in various iterations — were completely different from Mr. Santana’s. There was no middle ground. Now, the production team at PRS has achieved it with a vengeance.

With a similar look, feel, and sound, the new SE Santana delivers a creditable version of Carlos’ model, yet the retail price — $795 — puts it well into affordability for a huge percentage of shoppers.

For more detailed information about this amazing instrument, read the story:

> PRS Santana SE and Me

 

Guitar Heaven by Santana

Look, Carlos Santana is a legend. And he truly has created some of the most memorable guitar lines in history. Unfortunately, very few of them are in evidence on this album, Santana's Guitar Heaven.

Consisting of songs by The Doors, The Rolling Stones, The Beatles, Def Leppard, Deep Purple and other iconic bands, these tracks represent some of the most memorable guitar driven-songs in rock 'n roll history. So why would Carlos Santana choose to re-do them? There really is only one answer that makes sense:

Marketing.

If you really stretch, you could rationalize that Santana — by coupling young, current lead singers with classic rock songs — is introducing said songs to a younger generation. There's only one problem with that: those songs need no introduction to any generation.

Years ago, when uber-chops players were king, when Steve Vai and Joe Satriani were all the rage (don't get me wrong, they both are phenomenal players), a number of focus groups asked "young" people (11 to 22) who their favorite guitar players were. You know who they chose?

In no particular order:

Jimi Hendrix
Eric Clapton
Jimmy Page

Hmmmmm . . . It seems that "classic" rock is both alive and well — to listeners at any age. In that case, other than sales figures, there really was no good reason to deliver versions that are, at best, adequate, and, at worst, anemic, of these anthemic songs. With one exception:

"While My Guitar Gently Weeps"

This is a great song that, in this writer's opinion, is not usually given its due by the many talented six-string slingers that have attempted it. However, on this one track, Carlos Santana actually captures the flavor of the song in a way that totally fits the song itself.

Why?

Because, as he did in days of old, Carlos actually complements the flavor of the song. He celebrates the very "minor"-ness of it — something that is often sidestepped. In addition to this, the brilliant decisions to bring in both cellist extraordinaire Yo Yo Ma, and soulful pop vocalist Indie.Arie, were made. Both of which highlighted the haunting harmony and melody of this piece — one of George Harrison's best.

So, for his brilliant rendition of the Beatles classic, bravo! It's nice to hear that the Latin-rock legend still has some magic up his sleeve, and proves, once again, why he has become the legend he is.

Latin Rock Music, Part 5

My Writing Process, Part 5

For rhythm or chordal roles, I stick with simple 2- and 3-note chords (often octaves or root-fifth inversions), and play a sparse pattern that creates a rhythmic counterpoint with the other instruments.

Since there is no roadmap (that I know of) for writing guitar parts like this, it often takes a frustrating amount of experimentation before I happen upon something that works. However, over time, it has gotten a bit easier.

Creating a Latin Rock Groove

Traditional Latin bands don't usually have a "kit" drummer. Instead, the combination of Timbales, Congas, and hand percussion forms a rhythmic tapestry that drives the music. However, Latin Rock dictates a heavy sound with a classic drum set. To make that work, you need to a drummer that knows how to play an open groove so that the percussion has room (our drummer happens to be very good at it -- a lucky break for us).

In addition, since the music we're playing has a rock flavor to it, the grooves are different than standard Latin grooves. So, there are a few basic formulas I use to create a groove.

1) Build it step by step. Starting with vocals, then the various instrumental lines, we experiment with various feels until we find one that works. Sometimes this takes a while!

2) Avoid guitar "strumming." It's so easy to play a typical rhythmic chord pattern on the guitar. Unfortunately, it seldom adds anything to the arrangement. When not playing melodies or arpeggiations ("montuno"), I pick unusual intervals and triads and focus on creating an open, distinctive rhythm. Often, this happens at the end, after the rest of the band figures out their parts.

3) Don't be afraid to "lay out." As musicians, we're used to playing every measure of every song. It's just habit. If a certain instrument is not needed in a certain part, don't force it! Just leave it out.

Latin Rock Music, Part 4

My Writing Process, Part 4


Hooks Don't Have to Be Just Melodies

One of the lessons I've learned about arrangements is that hooks can -- and should -- occur anywhere in a song. Sure, the most important one is the chorus melody (and lyric) that listeners can remember. But a cool guitar riff, a simple synth line; even a drum groove or percussion fill can be a hook.

Once the song is "written," the challenge during the process of arranging is to create and refine those hooks throughout the song. As players, you often have to "step back" from the music, and hear it like a non-musician listener would. A simple break that seems elementary to you may be just the thing that gets an audience pumped.


Other Songwriting Techniques

In the vein of song writing techniques, I have another that may not be that common: I don't record any part of a song until we're actually working on the full arrangement with the band. Seem crazy? It works for me, and here's why:

Once a song, or even just an idea, gets recorded, it makes it more difficult for me to adapt it. As a writer, I'm constantly editing and refining what I do, so that as I'm creating a song, it's gradually evolving. In fact, one important part of this process is mistakes. In playing something, if I make a mistake that happens to sound cool, I incorporate it!

The other reason is that I find it difficult to focus my energy on the writing process at the same time as the recording process. If I try to do them simultaneously, one or both of them suffers.


Fitting Rock Guitar Into Latin Music

Since my inspiration is not Santana but rather more traditional Latin music, having the guitar serve as a prime instrument is an obstacle. In these genres, the roles are very defined:

- Piano plays the "montuno," or repetitive syncopated chord arpeggiations. This carries the harmony.

- Bass plays a sparse, angular pattern that avoids the "one" beat like the plague. This helps to set the rhythmic tone.

- Horns play the lead lines, and add chordal stabs, swells, and other effects. Thus creating -- other than the vocals -- the key melodic components.

- Guitar, when it is used, generally plays a supporting chordal rhythm pattern, and is pretty much in the background.

So, how does someone who grew up playing rock "lead" guitar fit it into a Latin format? Fat, overdriven guitar can work for playing melodies, but not in the way that a trumpet or a horn section can. To make the guitar work in a lead role, I utilize several techniques:

1) When we need horn "stabs," the keyboards cover them, and I play a montuno-like pattern on the guitar.

2) In order to achieve simple, trumpet-like melodic lines, I have the vocalist or a synthesizer double the line with me, in addition to utilizing doubled guitar technique (one bent note matching a straight note).

3) I employ playing techniques to enhance simple lines, such as bends, slides up or down, and unique, syncopated rhythmic phrasing.

Latin Rock Music, Part 3

My Writing Process, Part 3

These days, other than a style called "singer-songwriter" (think coffee shop, single performer with a guitar or piano), arrangment is such an integral part of music that it seems bare without it. And, a well-done arrangment can make or break a song. This is definitely an arena in which Santana excels. To me, the epitome is "Jingo," a song from Santana's first album (sometimes called Santana by Santana).

Jingo has -- are you ready? -- one chord. One! Lyrically, it's almost as spare: it has three syllables. Not words, syllables! But even given this dearth of elements, it is an interesting song that draws you in and keeps you interested. How? The arrangement is clever and subtle, using diverse elements that build excitement and keep the song moving.

Songwriting Traps and Pitfalls

Having worked in the industry and around musicians for so many years, I'm pretty familiar with some of the pitfalls all songwriters face. To me, the most dangerous one is lack of self-evaluation.

Be Your Own Worst Critic

Look, songwriting can be learned and improved upon, just like any other skill. But in order to get better, you have to be willing to critique your own work. When I'm crafting a song, I'm constantly asking myself these questions:

- Is this part really needed? Is it adding to the whole, or just a diversion?

- Is each melody compelling? Does it make you want to hum along, and is it memorable? Or is it just an exercise in musical technique?

- Could this part be stronger? How?

Working the Songs Out In Rehearsal

When I started this project, one of the rules I had was: every song had to be worked out and played "live." I did that for several reasons:

1) How many times have you gone to see a band and been disappointed in their live sound as compared to their recorded sound? I didn't want our band to be guilty of that;

2) In the studio, it's easy to cover up a song's deficiencies by adding more tracks, thickening it with layers, etc. But live, you can't do any of that. If a part isn't working, you simply have to write a better part!

3) Having limited instruments makes you focus on the melody more. Why? Because if you only have one instrument to play the melody, or if two instruments play the melody and only the bass player is carrying the harmony, the melody better be pretty damn strong!

Having these limitations forced me -- as a songwriter -- to write competent melodies that stood on their own. Or keep trying until I did!

Latin Rock Music, Part 2

My Writing Process, Part 2

Breaking the Patterns

When it does come time to write the chords to the song, I'll try to avoid the typical 4-chord progression, where each chord lasts for the same length of time. One way is to simply vary the amount of measures each chord lasts. Or, you can go back and forth between two chords; then when you introduce additional chords, they have drama.

Another "trick" I use is to change the chords at unexpected times. For instance, if your verse was based on two chords, it might go like this:

Chord 1 | Chord 1 | Chord 2 | Chord 2 | repeat

But what if you change in different spots? Like this:

Chord 1 | Chord 2 | Chord 2 | Chord 1 | repeat

It seems like a simple modification, but what it does is to put the changes where you don't expect, and keep the chord the same where you might expect a change. It's all about breaking the pattern.

Getting Feedback, and Listening

One of the big advantages of having a working band like Savor, is that when playing as a Santana Tribute Band, we can throw in our own songs, too. As long as the songs fit the style (Latin Rock), many people don't know they're original. After all, beyond the classic hits: Oye Como Va, Black Magic Woman, Evil Ways, Smooth, Europa, and a few others, most people are not familiar with Santana's catalog.

When you play an original song like that for people who have never heard it, the reaction is honest, and, often, brutal. My rule of thumb was: play the song for a few different audiences. If they didn't react (dancing, nodding their heads, clapping enthusiastically afterwards), I knew I hadn't done my job as a writer. I would make changes, reintroduce it to audiences, and keep doing that until I did get a positive reaction.

Frustrating? Yes. Sometimes I think the players in the band consider me a bit loony -- especially after I had re-written one of the songs three times during the course of a couple of years! But in the end, I really believe that we wound up with a stronger, more effective song. After all, the purpose of songwriting is to reach people, right?

Writing vs. Arranging

This is sometimes difficult to explain to non-musicians, and in fact the lines blur. The way I think of it is, the basic, stripped-down lyrics (if it's a vocal song), melody and chord progression together make up the song writing.

What the bass player does, how the drums interact with the percussion, the guitar riffs that go under and in between everything else -- that's the arrangement.

Latin Rock Music, Part 1

My Writing Process, Part 1

Due to the widespread popularity of Amadeus, the movie based on Mozart's life, it's well known that Mozart was a prolific composer -- the music pouring out of him as if by magic.

In more modern times, The Beatles, Paul Simon, Elton John, Prince, and others, seem to be able to create songs at a breakneck pace. Not so with me. (And, from what I've learned, with many other songwriters as well.) In fact, I feel that I am not so much a song writer as a song crafter. I often work for days, weeks or months developing a song, before I'm satisfied.

Over the years my writing methods have changed, but one of the most drastic changes occurred about 10 years ago. I was watching a well-known songwriter speak, and he said that he would start by writing melodies with no instrumental accompaniment at all. Huh? But as he explained, I began to understand: it is the melody that most people connect with, that most listeners remember, that audiences identify and sing along to.


The Songwriting Rut

After that, I began to see the patterns that I -- and, as far as I can tell, many songwriters -- fall back on. It goes like this: using a harmonic instrument (usually guitar or keyboard), write a chord progression. And, what's more, make that chord progression consist of four chords, lasting one measure each. For example: Chord 1 | Chord 2 | Chord 3 | Chord 4 | repeat.

(If you start analyzing songs you hear, especially songs by amateur, independent or "unsigned bands," you'll begin to see that this is an amazingly common formula.)

Next, fit a melody to the chords. That's a trap, because while it's pretty easy to make a melody work with a chord progression, it's much more difficult to write a melody that stands on its own. However, that lack of melodic power is often disguised by its interaction with the chord progression.


Breaking the Pattern

How do I avoid that songwriting quagmire? I have several methods, and I'm sure many songwriters have their own tricks. First, as I mentioned, whether I'm writing an instrumental song where the guitar plays the melody, or writing a vocal song, I create the melody on its own. If it doesn't work on its own, I keep re-writing it until it does.

Another technique I use is to write songs in unusual keys. (This drives our keyboard player crazy, such as when I present a song written in Eb minor -- a very difficult key to play in!) But there's method to my madness: instrumentalists tend to go to familiar places when playing in common keys; without those crutches, we're more likely to create something new.

Latin Rock Music

The Tribute Band or the Album -- Which Came First?

Since our band, Savor, released an album of original Latin rock music after 6 years of playing as a Santana Tribute Band, it would be natural to assume that we were inspired to do so after playing Carlos Santana's music for so long. Actually, the reverse is true.

8 years ago, I was playing in -- get this -- a 3-piece instrumental rock band. The band's goal was to create music that had hooks: actual melodic and harmonic motifs in a pop-song-like format. Talk about a challenge! It forced all of us to stretch, and as the band's main writer, I really honed my compositional skills.

Near the end of the band's two-year tenure, I was starting to try to write songs in a Latin style. (Rather than Santana, I was inspired by Salsa and other more traditional genres of South American music.) What quickly became apparent was that having only three instruments severely limited the possibilities. I didn't really know much about Latin percussion, but something was obviously missing. So, I began to try to form a new band, with the purpose of playing Latin-flavored instrumental music.

Things didn't go so well.

For the previous project (named, ironically, "Hook"), I was lucky enough to connect with a bass player and drummer who, like me, were playing for the love of it. When trying to assemble a larger unit, however, I had trouble getting musicians to commit. One keyboard player I spoke to, though, mentioned a Santana Tribute Band he had played with previously.

"A tribute band?" I thought. That's tacky. But the more I considered it, the more I realized it could be the method with which I had a ready-made unit available to play original songs. I decided to give it a go. The next couple of years brought two surprising (to me) results:

1) Building a working tribute band was a lot harder than I thought!

2) I re-learned the fact that people connect with vocal songs, and began writing those as well as instrumental compositions.

Now, I will say that while Santana was not my original inspiration for my own songs, I did learn some valuable leasons while mastering his music. But that's a subject for another article.

Santana Tribute Band:

What Should Be In A Promo Video?

Seven years ago, when we started our Santana Tribute Band (Savor), we created a promotional video to show agents and entertainment directors what the band looked and sounded like. At that point, we hadn't played any gigs! So we shot the band -- live -- in a rehearsal studio. Later we cut in footage that various cable stations had given us from subsequent shows.

Of course, since then, there have been changes in band members; on the whole, I believe the band sounds better. And, after more than 100 gigs, we have more stage presence, as well.

So, fast-forward to 2010. We just finished a new video, and this one is a bit different from the first one, in the following respects:

1) It's shorter. Two-and-a-half minutes, as opposed to seven;
2) There are more songs (nine; the old one had six); they are:
- Black Magic Woman
- Oye Como Va
- Smooth
- Jingo
- She's Not There
- Savor
- Samba Pa Ti
- Guajira
- Europa
3) There are some "text panels" throughout; and, finally,
4) The band members are introduced.

I'd love some feedback on this. What do you think? Did we include everything we needed to, or is something missing?

Do you hear enough of each song to get the idea, or would longer clips be better?

Some of the video is a little "shaky;" is that a problem?

Please feel free to comment below, and let us know your thoughts!

Thanks.

The Sparkle of Santana DVX Wine

What do you do when you've at least popularized (if not virtually invented) Latin rock, helped to develop an entire culture of amplifier technology, toured the world with a smokin' band for more than four decades, played for half a million people zonked out of your mind, and launched a career renaissance the like of which has not been seen in the history of the music industry?

You launch your own private wine label, of course!

As most people know, the first paragraph refers to Carlos Santana's ground-breaking musical style, first seen by a wide audience at Woodstock in 1969. Not to mention his involvement with Mesa Boogie amplifiers, the legendary Santana live show, and the phenomenal popularity of 1999's Supernatural.

What may not be quite as familiar, though, is the Santana DVX Sparkling Wine that was produced by the Mumm Winery in Napa Valley, California. Issued in 2000, the combination of Pinot Noir and Chardonnay vintages was the brainchild of Carlos, his then wife Deborah Santana, and winemaker Ludovic Dervin.

Of course, it was introduced to on a broader scope than it might otherwise have been, due to a little ditty titled, appropriately, "Santana DVX," by a rap/comedy band called The Lonely Island. Complete with clever, albeit raunchy, lyrics, the song became quite a smash in the social media-sphere.

Unfortunately, the wine was issued on a very limited basis, and is long gone. No word of a sequel has been released, although with this run Carlos Santana has been on, you never know!

Drummer Cindy Blackman to Wed Carlos Santana

It must have been a stunned crowd that witnessed Carlos Santana's very public proposal to this then girlfriend (now fiancee): drummer Cindy Blackman. Obviously a lot more than that audience bargained for In Tinsley, Park, Illinois, on the July 9, 2010 show of the Universal Tone Tour.

Blackman, although primarily a vetted jazz percussionist, is possibly best known for her 11-year stint with Lenny Kravitz. As such, she showed she was a master of groove as well as swing. This may be the general public's introduction to the groundbreaking drummer, but in the jazz scene, especially, she has long been a fixture.

And with numerous albums under her belt, she can claim status as a composer as well.

Her gig with Santana's band adds Latin rock music to her resume, and seems to be just another step in Blackman's self-proclaimed goal of virtuosity. Congratulations to the happy couple!

Gregg Rolie

Gregg Rolie

Legendary Vocalist/Keyboardist for Santana and Journey

Santana's 1999 Grammy phenomenon, Supernatural, has sold in excess of 25 million copies. It launched a rebirth of Carlos Santana's career leading to his artist-as-icon status. More recently, he has lent his name to a line of Santana perfumes and colognes, handbags, wine, Carlos by Carlos women's shoes, and more.

But this legendary status now enjoyed by Carlos wouldn't exist were it not for the hits still played on radio: "Evil Ways," "Black Magic Woman," "Oye Como Va," et al. Most of these songs were included on Santana's first two albums, Santana (often called Santana by Santana), and Abraxas.

At the heart of the sound of those classic records are the keyboard playing and vocals of a young musician named Gregg Rolie.

Still a teenager when he and Carlos formed what was at one time titled the "Santana Blues Band" and then finally simply "Santana," Rolie had a distinctive vocal style has been immortalized on those early albums. And he didn't stop there. He and band mate Neal Schon went on to form Journey, a band which initially achieved a cult status among musicians, and then became one of the world's leading pop rock groups.

Rolie wasn't just a vocalist who accompanied himself on keyboards, though. The powerful simplicity of his organ playing is evident in the iconic chord inversions that introduce Oye Como Va, the unusual note (a 9th) that kicks off his solo in Evil Ways, and many other parts. Playing keyboards is something many people do; really good keyboard players is a much smaller group. Creating keyboard parts (both rhythm and lead) that stick in people's mind is a rare skill indeed, and one at which Rolie excels.

To this day, Rolie can be heard on both keyboards and vocals in his own group, the Gregg Rolie Band. Touring the country and playing hits both old and new, Rolie and his band (which includes original Santana conguero Mike Carabello) embody much of the original sound of the early Santana songs that still resonate with listeners, 40 years later.

Neal Schon

Incredible Melodic Journey

There are a lot of excellent electric guitar players out there. When you narrow the field to guitar players who play parts that you remember long after the song is over, it shrinks noticeably. But at the very pinnacle of that group is this category: players so melodic that every "riff" they play is a hook that sticks with you for a long time.

One of the members of that very small cadre is Neal Schon.

He must have displayed that talent early, because at 15, he had Eric Clapton and Carlos Santana vying to bring him on tour. After a couple of years under the radar in Santana's band, Neal broke out on his own to form Journey with Santana band mate Gregg Rolie. It was a momentous career choice.

Beginning with the first note of the first song on the first Journey album, Schon has steadily created a catalog of memorable songs, parts, and solos that is mind-boggling. His unique chordal phrases form the basis of most Journey songs; his lead riffs and solos challenge the vocal lines for sheer melodic power.

For more than 30 years, Schon has built a body of work that is staggering in its sheer volume, not to mention quality. He has contributed to many other projects, and even been in other bands (Bad English, Hardline, Abraxas Pool, et al), but it is in Journey where his melodic gift is best exemplified.

Yamaha SG

One-Time Santana guitar

More than 10 years of photography have etched the image of Carlos Santana and his PRS Signature guitar into the public consciousness. The resurgence of Woodstock footage has served the same purpose for one of Santana's original guitars: a Gibson SG.

But the six years that Santana spent playing a much less known guitar -- the Yamaha SG -- have been, to a great deal, eclipsed. However, that guitar, played by Carlos during a pivotal point in his career, probably had a lot to do with what many people think of as the "Santana Sound." That is, a round, smooth-yet-beefy-tone, complemented by endless sustain.

Embodying the best of the features of Santana's two previous guitars, the SG and Les Paul (both by Gibson), the Yamaha SG175 was a thick, woody guitar with double cutaways in the body. Combined with his Mesa Boogie amp, it helped him develop the signature sound for which he is renowned today.

Actually, although the model number was SG175 at first, Carlos and Yamaha together modified it into it's eventual form, which was called the Yamaha SG2000. That is the guitar heard on the original recording of "Europa," "Open Invitation," and other classic Santana songs.

After Carlos had played the guitar for a while, it was "discovered" by other popular guitarists of the day, including Steve Cropper, Kerry Livgren (Kansas), and Mick Jones (Foreigner).

Recently, Yamaha has reissued the model as the SBG2000, as well as several other related models. It's a fitting tribute to the legendary status of the artist who originally helped the world see the quality of Yamaha guitars.

How Santana Music Influenced Me

During the years I've played guitar in a Santana Tribute band, people generally assume that I'm a huge Carlos Santana fan. It's true that I've always enjoyed his music (especially the first two albums, Santana by Santana and Abraxas), but since I didn't really learn any Santana songs in depth until decades into my guitar career, he didn't exert a noticeable influence on my guitar style.

Actually, short-time Santana band member and co-guitarist Neal Schon (of Journey fame) played a much greater role in my development as a 6-string slinger, as I have long admired his melodic finesses combined with technical prowess.

But I have never been able to really learn someone's music in detail without coming to appreciate it on a deeper level, and such has been the case with Santana's music. As a guitar player, I certainly comp his lick's note-for-note during the tribute band gigs. And although his playing style is different from mine, his flair for stripping a guitar line down to its essence has definitely inspired me.

One of the the things Carlos excels at is playing melodies that are harmonically simple but rhythmically complex. He does it so naturally that it's not generally noticeable, but try to mimic his style and you'll find you really have to pay attention to your phrasing.

Additionally, I have taken a cue from the original Santana band, as a unit. Having always been a devotee of chordally complex music, I was delighted to study how Santana could take, not a 3-chord, not a 2-chord, but a 1-chord song ("Jingo"), and use a dynamic arrangement to keep it interesting. Awesome!

Even the most popular of Santana songs -- their re-make of Tito Puente's classic song "Oye Como Va" -- employs a simple 2-chord progression (i and iv) that never changes. Yet the arrangement is so interesting that the song never loses its trademark drive.

When writing the songs for my band Savor's CD, ¡Moviendote!, I tried to utilize those principles, as well as techniques gleaned from years of listening to and writing many different styles of music. Since the instrumentation is the same (guitar, bass, keyboards, drums, timbales, congas, hand percussion), it can't help but bear a common thread with Santana. But I see it as just one of the facets that make up a musical menage.

Carlos Santana's Guitar Tone

Distortion Makes A Difference

We used to have a saying when I was a teenager first learning to play guitar: "so distorted it's 'clean.' " What we meant was that with the right kind of amplifier distortion, you would achieve a smooth, round tone that sounded clean. In his latter years, Santana has definitely achieved that effect with his PRS Santana Signature guitar, combined with his Mesa Boogie amp.

However, the first couple of albums, Santana by Santana and Abraxas, which contained most of his classic hits, were not recorded using that combination. Instead, he used a Gibson Les Paul Special and possibly a Gibson SG guitar, along with a [probably] hot-rodded Fender Twin amplifier, and later maybe a precursor to the Mesa Boogie that would become his trademark.

Any way you slice it, he did not have access to the super overdriven sound that gave him the full, satin tone that would later become his trademark. Instead, his sound was more raw and uneven. He had to resort to tricks like doubling parts in the studio, adding echo and reverb effects, and using his guitar's volume control to extend his sustain.

As a result, in order to play those original songs true to form, you need to avoid the super-saturated tone available with modern amps, and duplicate the methods that Santana used back in the '70s. Which brings up the next point:

Know Your Santana Album Versions

Many of Santana's Hits have been recorded and released several times, each time with a different arrangement, guitar part, and guitar tone. It's easy to mix these up, and therefore produce a version that isn't true to any of the originals. So, pick the version you want to play, and stick to that version.

My rule of thumb: play the version that people will know best. In the case of the early hits -- Evil Ways, Black Magic Woman, Oye Como Va, et all -- it means playing the original album versions. Because those are the versions that have achieved the most radio play, which means those are the versions that most people know.

Some songs, like Europa, and Soul Sacrifice, are better known from live recordings (the latter frm the film, Woodstock). In those cases, play the live version. But don't mix them up with the original studio versions.

But Santana Plays His Songs Different Every Time

It's true, Carlos is one of those guitar players who never repeats the same riff twice. That doesn't mean that you can get away with the same thing. After all, people generally come to hear you play Santana songs, not your take on those same songs. Give them what they want!

Last, but definitely not least, remember that you are not an island. What the other members of the band play is going to affect how you sound. So make sure your band captures the Santana vibe as well as you.

Scent of Santana

After successful forays in the cuisine business with Maria Maria Restaurants, the clothing business with Carlos by Carlos Shoes, Latin guitar legend Carlos Santana has added another arrow to his quiver: fragrance.

Carlos Santana for Men offers products with a "woody," subtle fragrance that is captured in the cologne, body wash, and deodorant. You can buy them separately, or together in a gift pack.

Carlos Santana for Women includes perfume (3.4 oz. size or 1.7 oz. size), moisturizing body wash, and silk body lotion. The women's products blend florals with some exotic fruits and complete the picture with soft, sensuous musk to create a warm, seductive fragrance.

Valentine's Day shopping just got easier for guitar nuts (and lovers of guitar nuts)! Of course all products share some of the profits with The Milagro Foundation: Santana's association that donates money to charities that work for the benefit of children.

Jingo: Santana's Trademark Song

When I first started playing with a Santana Tribute band, I liked Santana's music, but didn't have a true appreciation for it. No song has changed that opinion more than "Jingo": a one-chord "chant" piece from the band's debut album, Santana by Santana.

Not only is Jingo a simple song harmonically, but the bass line literally does not change from start to finish. Playing Jingo has given me a true appreciation for Carlos Santana's melodic prowess, as well as the power of arrangement to drive a song.

Though "Soul Sacrifice" was immortalized in the Woodstock Film, and "Evil Ways" had the most radio success, I believe it is Jingo which best exemplifies the deceptively simple power of Santana's early music.

While Carlos achieved his greatest commercial success with Supernatural (driven by hits like "Smooth" and "Maria Maria"), he launched his career decades before with music that -- although more than 40 years old -- is still relevant today.

Maria Maria (Restaurant, not Song)

Carlos has branched out again -- this time into the culinary arena. Recently, he launched a "themed" restaurant, called Maria Maria -- named after the song from his Supernatural album, of course.

However, if you're expecting rock star memorabilia, ala Hard Rock Cafe, you'll be suprised. The restaurant chain (there are four, so far), is not dominated by Santana, his music, and his equipment; rather, it carries the influence of his aura.

A collaboration between Carlos, accomplished chef Roberto Santibanez, and restaurant producers Dudum Sports and Entertainment, Maria Maria is an upscale restaurant with a blend of traditional mexican cooking and innovative touches. The decor is luxurious and comfortable at the same time. And the artwork (by some renowned latin artists) is provocative.

If you have a chance to eat at Maria Maria, give it a shot. Santana aficionado or no, it's worth the trip!