La Bikina Jesusita en Chihuahua Solamente una Vez Maria Elena La Paloma Sons de Carhilloes. Bumblebeat Euphrates Spicy Dream This Precious Moment Mosaico Wave Rider Afrodisiac Smooth as Silk Carousel Moon over Water.
Danza del Mango Amber Waves Gitana: Gypsy Woman Pied Piper Summer Breeze Gypsy Heart In Harmony Moonlit Shadows Gitanas: Gypsy Women.
Soundtrack Megaupload Guitar. Home Free Blogger Templates. October 20, Besos. Our Night Espana Besos Estrellas Dancing Butterflies Esperanza Soleares Santiago Paraiso Amor Mio Malibu Nights Guitar Bazaar 4 - Sherif Mostafa. Guitar Bazaar 4 - Sherif Mostafa Genre: mp3 kbps Dafaier Shams Medley Leaneha Nesma Sama It's often closer to Mahavishnu Orchestra than it is to Santana, but you'll still find Latin rhythms. The first two songs are John Coltrane songs, the first being "A Love Supreme", actually it should have been entitled "Acknowledgement", since it's the first song off A Love Surpreme.
The original is piano and sax, and there is a vocal passage that repeats "A love supreme" over and over. This version, obviously is done in '70s fusion stlyle, with electric guitars and a more rock approach.
The vocal passage is intact. This version is modernized, but still calm and relaxed. There's also a repeating vocal line and I really dig Larry Young's organ playing, sounds like a spacier version of Gregg Rolie. Probably due to the spiritual nature.
This version, though, is all-instrumental, and honestly it sounds like an instrumental Santana song, has that similar Santana vibe going on, including Latin rhythms. I remembered Rolling Stone panning this album. If memory serves, this was given a one star rating on the Rolling Stone Record Guide in the edition.
I can understand where they may come from, though, because it might have seemed to their ears nothing more than a guitar wankfest, wishing for something on the line of the first three Santana albums, or more ensemble playing like from Mahavishnu Orchestra. And sure, I wouldn't recommend Love, Devotion, Surrender to those who dislike the more technical side of musicianship, but to me the power and mindblowing intensity really makes this album great.
Billy Cobham proves, once again, to be a fusion powerhouse although he shares drum duties also with Jan Hammer and Don Alias. I may not recommend this album to everyone, but I enjoy it, and it's really up to you to decide. I have heard about this album for a while and it has always intrigued me because it sounds like it should be one of the most anticipated collaborations in musical history, but after trying to get into this album there are a few things that are going on here, or not going on as the case may be.
I feel this album lacks is a true musical direction. The tributes to Coltrane are interesting and they, to my ears, the most interesting pieces on this album, but the rest of the tracks sound more like a battle for dominance than a true merging of talents. Still though, it is a pleasant enough listen despite being a disappointment but hardly an album you should sell your kidneys over.
Review by admireArt Prog Reviewer. The best part, besides the obvious intention of the concept, is precisely the "clash" of styles, the "original" composition diversifies into. Somehow the album launches from there to a variety of songs, that some are independent of Coltrane's composition and highlight themselves because of the same. These songs in turn, make this work, sound richer in musical ideas and approaches.
Both musicians respect each other, but the "concept" and orientation of the music they emulate religious like , has as a performing requirement, to be played with the innermost "JOY" you are able to achieve. So, expect a show of hands, a blend of styles, a focused concept and goal, that although it could be tendentious by them or pre-judiced by new listeners, it is neither exclusive nor pretentious. In fact the Jazz tagging helps, considering, it contains a fair amount of impro like heartfelt, energetic performances by every member of the ensemble lots of percussions.
I might even think, John Coltrane will happily approve on, these guitarist's rendition of his famous recording. I myself still hold it in my music collection. The voyage begins from the meditative aphorism of Carlos' Guru "Love is God's life-bless within us".
The chant and this recitation directs the orientation towards religious mystic experiences, being embodied first by two visions of angels, one for air and another of water.
Alice's string arrangements, Dave's firm and soft bass lines with ethereal waves from the cymbal plates allow the angels speak trough Santana's fingers upon his guitar's frets. I felt special enjoyment from the ethereal background of this movement for Carlos to play, instead of the strong rhythm presence I often have found dominating his major albums.
The harp motive from Alice possibly changes the seraph of airs to the one from waters, cinematopic symphony layers strengthening her blissful characteristics. Saxophone of Jules Broussard is also allowed to have quite much space, and the composition waves calmly from celestial peaks to peaceful moments of all-devouring god's love.
The portraits of these elementary heralds lead to the bliss of infinity being realized from the current moment, everlasting in the history from now on. This powerfully orchestrated ethereal sequence swirls with vastness of ecstatic confrontation of universal eternity. The divine movement holds only quite light emphasis for the guitar, allowing much space for piano, harp and symphonic orchestra's string powerful dramatics.
The third angel holds the element of sunlight, conjured from oriental circling themes and grandiose yearning of amplified solo guitar call, being answered from Indian drums and bow-played upright bass prayers.
The sonic carpet rich with mythical details is revealed after few minutes for more concrete melodic solo passages for guitar, saxophone and keyboards, powered by Jack's identifiable drum turmoil and solidly flowing jazz bass foundation. A really shimmering quart of an hour, the merging of solo instruments leading to the culmination peak opening the gates for the spiritual target of the voyage; Illuminations on sublime piano and string borne symbol of religious hope are decorated with gentle symbols of Carlos and Alice's tonal art.
I like very much Carlos' earlier work with McLaughlin on their "Love Devotion Surrender", but however I adore the charms of this religious record even more, maybe due the presence of sacred feminine mystics uniting with power of masculine potential, these contrasting powers allowing more harmonic potentials being realized on this unique album. Review by Tom Ozric Prog Reviewer. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever.
Carlos Santana biography In parallel to the group's career, Carlos has been releasing solo albums for projects he thought were out of the scope of his group and for collaborations with other artistes. Such collaboration have been with John McLaughlin, Alice Coltrane, Buddy Miles and his brother are stellar and progressive and always positive jazz-rock.
Truth is that the boundary between his group and his solo discographies is that clear, but to those who have a good knowledge of his music.
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