In 1981 after two solo recordings, first the self-titled album Jorge Santana (featuring songs Love The Way & Sandy), the second album titled: It's all About Love, and after various awards, including two "NOSOTROS" "GOLDEN EAGLE AWARDS," great write-ups for the music, and two years of touring, this version of Jorge Santana Band and its music came to a conclusion.
Continuing my intention to record and perform, I regrouped with all new musicians from the S.F. Bay Area except one: Phil Anastasia a.k.a Dean Parrish. Phil was introduced to me while I was in NY. I agreed to bring Phil to SF so we could write and compose together. The results were fantastic, and together, with Walter Afanasieff , Phil Anastasia and myself we wrote and arranged many songs. These first five tracks were recorded as a musical demo and shipped to record labels. While this was going on, the band began rehearsals for a five week tour ending at "The Bottom Line," New York City.
During the tour we must have performed in every major club in every major city in the country. All this traveling and gear set up was made possible by one person, Gary Hoffman. On the road Gary did it all, and to this date Iâ€™m grateful to him. Although playing with this new band was very uplifting, the record labels did not take interest in any of the five songs you now hear.
It was a great experience working with this group of musicians.
Thank you to everyone who made this recording possible. Special thanks to PHIL ANASTASIA for your writing contribution and powerful, soulful voice. Thanks also to WALTER AFANASIEFF for your creative writing and producing talents.
For those curious musicians who want to know, I used a 1979 Red Gibson Les Paul Custom with stock pick-ups, my favorite amp, a Mesa Boogie Mark IIC+ Long Head with a Marshall half stack, no additional foot pedals, one take on all tracks and no over dubs. This recording was done with two 4 track Â¼" analog tape machines.
CASA BANDIDO, LATIN LOVER.
Richard Segovia, Rolando "Choco" Contreras, Steve Salinas and the mighty Johnny Gunn were the foundation of the band. They instilled the true music of the San Francisco Mission District culture. Their sound as powerful and energetic as that of the early sounds of MALO and SANTANA. It's a real treat musically sitting in with them live. Better yet, was rehearsing with them. Their rehearsals are nothing less than a neighborhood gathering, a celebration of life. Musicians, friends, neighbors all come to enjoy the music, and afterwards a real home-cooked Mexican dinner is made by Richard and friends.
LATIN LOVER: Around 2006 Richard Segovia invited me to perform on a new song they were recording called Latin Lover. Richard said my nephew JOSE SANTANA was writing the lyrics and doing the vocal performance. When I got to the studio they played for me what I thought was a very radio friendly song that right away captured my interest. Soon after I came back to the studio to do a layer of multiple solos that I felt would complement the song. Once again I found myself involved with a powerful and commercially appealing song; fresh lyrics, a unique vocal delivery by Jose Santana and the band's friendly and powerful musical performance with a Mission-style guitar solo. Additional vocals were done by Heather Lauren and The Herrera Sisters: Jaque Lynn & Elena Renee.
CASA BANDIDO: A musical arrangement piece I wrote that we always jammed at the rehearsals. Richard Segovia liked it so much that he got the "Franco brothers," Carlos E. Franco and Bismarck Franco, to write lyrics and do a vocal performance. When I got to another of their rehearsals, they showed me what they had done to the song. I liked what I heard, and finished the song arrangement. Soon after we returned to the studio, and once again another cool song was born in the Mission. Note: The guitar solo in the outro of Casa Bandido is played by Johnny Gunn, a fine guitarist and a true rocker who has great feeling for playing soulful Latin rock guitar.
I used one Blues De Ville 4x10s Fender amp and my favorite blue Squire Stratocaster guitar with a 1962 Jazz master neck.
RAINBOWS OF LOVE: How can I put into words something I have enjoyed listening to repeatedly over the years? It's a rush (a double rush for me is when you rewind to where the solo begins). My favorite place for listening to this song loud is while you are driving your car on the freeway. Abel Sanchez and I have known each other for a long time. In the early seventies I used to sit-in all over the S.F. Bay Area with his band ABEL AND THE PROPHETS. We also spent time in his home studio, writing songs that we could record in the future. In 1981, Abel asked if I would come to the studio and record on a song we had collaborated on. Well, by this time many chapters of my life had passed and changed, including having new gear. Before arriving at the studio I remember thinking how good my original Snakeskin Mesa Boogie amp would sound on this song, but I didn't have it anymore. Instead I brought a combo Crate amp that I was endorsing at the time. I carefully dialed the amp to give me that Boogie ringing percussive-bell sound. Itâ€™s a tone like no other that I was fortunate to capture in the studio while recording Maloâ€™s last official recording for Warner Brothers, entitled ASCENCION. There you can hear what I mean by tone, especially on the last track of the album, "NO MATTER." So with this new amp and my Red Gibson Les Paul Custom I arrived at the studio. I remember playing the entire song and solo sitting down on the floor where I could best hear the tone coming out of the amp. The results of which you can now hear on this recording. Thank you, Abel, for the invitation. If it wasn't for you asking, I would have missed all the enjoyment that listening to this song has brought to me. Personally, I knew this was a special musical time for me. In addition to playing this magical solo on Rainbows Of Love, I was writing and recording with Phil Anastasia and Walter Afanasieff. Soon thereafter, RICHARD BEAN and I formed the rock band "JET." For about two years, this was our four-piece rock band that played all over the west coast. I have plans to release material from this special project also.
BAR OF FIVE, SANDY, DARLING I LOVE YOU. In 1976, having finished my musical experience with MALO, and appearing as a guest artist in many live events and recordings with the "FANIA ALL STARS," I decided to take some time off. I ended up staying at my brother Carlos' home in Marin County. There, for a whole year, Carlos gave me the freedom of his home. This was what I was looking for, an uninterrupted period of time with the guitar. I dedicated myself to only playing an older nylon string guitar Carlos had laying around. This gave me the opportunity to really get familiar with this beautiful instrument we simply called "Guitar." This brief time spent with the instrument was the beginning of me opening every door and window that I was musically searching for. In 1977 I regrouped and told the musicians that if we dedicated ourselves to our band, a year later we would have a record deal. Well, thatâ€™s what I believed, and it happened. The label that took interest was Tomato Records, based out of New York. The year was 1978 - the time for "Disco" and the JORGE SANTANA BAND spent all summer long in Manhattan recording at the "Power Station," and hanging at Club 54. This was my first solo recording, produced by TONY BONGIOVI. Tony and his crew of co-producers and engineers produced our music like I never imagined it could sound. These three songs became the demo we submitted to KEVIN EGGERS, president of Tomato Records. What followed was my first self-titled recording, "JORGE SANTANA."
P.S. To my knowledge, Ron DeMasi's performance in these three songs and the Hammond organ solo on "Sandy" may be his last studio recording. Thank you Ron DeMasi, rest in Peace. I used a 1970 black Gibson Les Paul Custom guitar bought at Don Weir's Music City in San Francisco, as well as a Fender Twin with a half stack Marshall cabinet.
MALO ON SESAME STREET.
BIENVENIDOS (Welcome) & SHOW ME HOW YOU FEEL (Como te sientes?) MALO ON SESAME STREET.
Once again, in these two songs you can hear the original, powerful and musical sound that Malo had. If anyone is not familiar with "ASCENCION," this was MALO's last official recording for Warner Bros. In this recording you can hear the musical legacy MALO achieved. I hope you enjoy these two classic Malo recordings created for Sesame Street. "Bienvenidos" contains a memorable guitar solo with great tone and melodic structure. I used my original Black Gibson Les Paul Custom and a #11 Snakeskin Mesa Boogie amp combo, the same equipment set up used to record the album "ASCENCION."
Post "MALO," In 1975 I did a series of rehearsals with Pablo Tellez on bass, Ron DeMasi on keyboards as well as other S. F. Bay Area musicians.
I plan to release these sessions if, with today's technology we are able to rescue the recording from the Â¼ inch analog tape.