1 00:00:08,200 --> 00:00:14,200 Speaker 1: Pushkin. Just a quick note here. You can listen to 2 00:00:14,240 --> 00:00:17,200 Speaker 1: all of the music mentioned in this episode on our playlist, 3 00:00:17,239 --> 00:00:19,280 Speaker 1: which you can find a link to in the show 4 00:00:19,320 --> 00:00:23,080 Speaker 1: notes for licensing reasons. Each time a song is referenced 5 00:00:23,079 --> 00:00:28,280 Speaker 1: in this episode, you'll hear this sound effect all right. 6 00:00:28,880 --> 00:00:34,080 Speaker 1: Enjoy the episode. Carlos Santana has always been out of 7 00:00:34,159 --> 00:00:38,000 Speaker 1: this world. As a guitarist, his melodic style and tone 8 00:00:38,080 --> 00:00:41,280 Speaker 1: is distinctive, and as a band leader, his decision to 9 00:00:41,320 --> 00:00:45,360 Speaker 1: combine Latin and African rhythms with traditional rock helped to 10 00:00:45,400 --> 00:00:50,839 Speaker 1: widen the breath of the genre. That's Paraisos Kamados from 11 00:00:50,880 --> 00:00:56,480 Speaker 1: Santana's twenty nineteen album Africa Speaks, produced by Rick Rubin. Today, 12 00:00:56,480 --> 00:00:59,080 Speaker 1: you'll hear Rick in conversation with Carlos and his wife, 13 00:00:59,200 --> 00:01:02,720 Speaker 1: drummer sind Black Men. They talk about Carlos's plans to 14 00:01:02,720 --> 00:01:07,240 Speaker 1: create what he calls miraculous music. Carlos also shared stories 15 00:01:07,280 --> 00:01:10,679 Speaker 1: about Miles Davis, his LSD used in the sixties, and 16 00:01:10,720 --> 00:01:13,680 Speaker 1: a dream where John Coltrane asked him the purpose of 17 00:01:13,720 --> 00:01:16,679 Speaker 1: the divine. It might sound a little out there, but 18 00:01:16,720 --> 00:01:20,120 Speaker 1: as Carlos tells Rick, being crazy just gives him more 19 00:01:20,160 --> 00:01:27,039 Speaker 1: creative latitude. This is broken record liner notes for the 20 00:01:27,080 --> 00:01:36,080 Speaker 1: digital age. I'm justin Richmond. Here's Carlos Santana, Cindy Blackman, 21 00:01:36,360 --> 00:01:39,240 Speaker 1: and Rick Rubin. What was the music he listened to 22 00:01:39,319 --> 00:01:44,920 Speaker 1: growing up? My father, my father's played the violin, and 23 00:01:45,120 --> 00:01:49,440 Speaker 1: his son and he had a brother, played cello. He 24 00:01:49,480 --> 00:01:52,640 Speaker 1: had a piano player, guitar player and accordion and they 25 00:01:52,680 --> 00:01:58,000 Speaker 1: basically play European music, you know. He didn't play mariachi 26 00:01:58,120 --> 00:02:02,080 Speaker 1: music till we moved to Tijuana. In outline, it was 27 00:02:02,160 --> 00:02:06,240 Speaker 1: basically I was steam Lada, who was like the call 28 00:02:06,360 --> 00:02:10,959 Speaker 1: porter of Mexico, you know, and uh soon like Bess 29 00:02:11,320 --> 00:02:13,960 Speaker 1: Muccio and all that kind of stuff. So I grew 30 00:02:14,040 --> 00:02:20,840 Speaker 1: up watching him be enchanting and adored immediately by women, 31 00:02:20,880 --> 00:02:24,200 Speaker 1: men and children. And I said, oh, you know, I 32 00:02:25,160 --> 00:02:31,440 Speaker 1: want that played professionally. Yes, I didn't. He played violin professionally, 33 00:02:31,520 --> 00:02:33,880 Speaker 1: and he's the one that taught me the value of 34 00:02:34,000 --> 00:02:37,880 Speaker 1: one note, you know, but not too moved to Tijuana, 35 00:02:38,040 --> 00:02:40,160 Speaker 1: you know, because he had to feed us. So he 36 00:02:40,160 --> 00:02:43,560 Speaker 1: would play my actu music because that's what the tours 37 00:02:43,560 --> 00:02:46,760 Speaker 1: wanted to hear. But that's what I learned about childie 38 00:02:46,800 --> 00:02:51,720 Speaker 1: Hooker and Lightning Hopkins and Jimmy Reid and everybody else 39 00:02:51,800 --> 00:02:55,520 Speaker 1: was listening to Elvison and Beach Boys. You know, I 40 00:02:55,600 --> 00:02:58,799 Speaker 1: was attracted to I was listening to god Bucket music. 41 00:02:59,280 --> 00:03:02,240 Speaker 1: I thought that even BB King was sophisticated, you know. 42 00:03:03,000 --> 00:03:05,440 Speaker 1: Not too late, I learned about Tma Walker and New 43 00:03:05,520 --> 00:03:09,000 Speaker 1: Calendar Man. It's like, oh shit, you know, or Monk. 44 00:03:09,280 --> 00:03:10,720 Speaker 1: You know, here in the Monk for the first time 45 00:03:10,760 --> 00:03:12,800 Speaker 1: place some blues. I was like, oh my god, this 46 00:03:12,880 --> 00:03:17,280 Speaker 1: is the blues. You know, was Monk your way into jazz? Yes, 47 00:03:18,000 --> 00:03:21,400 Speaker 1: Mink was way into jazz in the beginning, because when 48 00:03:21,400 --> 00:03:23,720 Speaker 1: you're young, you're ignorant, and I thought that anything I 49 00:03:23,720 --> 00:03:28,320 Speaker 1: had to do with jazz was boring, sophisticated music for 50 00:03:28,440 --> 00:03:32,400 Speaker 1: old people. You know. Chuck Berry and Little Bow Didley 51 00:03:32,440 --> 00:03:34,720 Speaker 1: and Little Richard, you know, that was like up front 52 00:03:34,800 --> 00:03:38,480 Speaker 1: like what Metallica is because of his energy and a 53 00:03:38,520 --> 00:03:42,600 Speaker 1: lot of things came from them. Any any guitar players 54 00:03:42,640 --> 00:03:45,160 Speaker 1: that you would say influenced you early on, like who 55 00:03:45,160 --> 00:03:47,119 Speaker 1: are the people? When you saw them play or heard 56 00:03:47,160 --> 00:03:50,800 Speaker 1: them play, like felt like there's something here for me 57 00:03:50,920 --> 00:03:55,000 Speaker 1: to follow or to practice or to learn. At the beginning, 58 00:03:55,000 --> 00:03:59,240 Speaker 1: in d juana making making the transition from violin to guitar. 59 00:03:59,360 --> 00:04:03,200 Speaker 1: I saw this guy named Heavier about these and in 60 00:04:03,280 --> 00:04:05,720 Speaker 1: the park. My mom knew what she was doing because 61 00:04:05,760 --> 00:04:08,560 Speaker 1: my father moved to San Francisco so he can make 62 00:04:08,560 --> 00:04:11,400 Speaker 1: more money and send us money. He wasn't making money 63 00:04:11,400 --> 00:04:13,840 Speaker 1: into juana anymore because everybody and their mom had my 64 00:04:13,920 --> 00:04:16,599 Speaker 1: rache bend in there. So he moved to San Francisco 65 00:04:17,080 --> 00:04:19,160 Speaker 1: and my mom. My mom saw that I wasn't playing 66 00:04:19,200 --> 00:04:23,400 Speaker 1: anymore violed and I wasn't practicing. So she took me 67 00:04:23,480 --> 00:04:25,520 Speaker 1: by the hand and she goes, you're coming with me, 68 00:04:25,560 --> 00:04:27,080 Speaker 1: and says, well, where are we going? And he goes, 69 00:04:27,080 --> 00:04:29,200 Speaker 1: you're coming with me. So she took me to the 70 00:04:29,240 --> 00:04:32,240 Speaker 1: park and there was a band plane and this guy 71 00:04:32,279 --> 00:04:35,760 Speaker 1: had a big mop like Little Richard. This guy is 72 00:04:35,800 --> 00:04:38,160 Speaker 1: kabiet about this and he was a perfect combination of 73 00:04:38,320 --> 00:04:41,320 Speaker 1: Little Richard, BB King and Ray Charles. That's what he 74 00:04:41,400 --> 00:04:43,240 Speaker 1: was sent to. And he was probably made four or 75 00:04:43,240 --> 00:04:45,760 Speaker 1: five years older than I am, and he was already 76 00:04:45,800 --> 00:04:49,160 Speaker 1: in it. He had that sound like Michael Bloomfield, Peter 77 00:04:49,240 --> 00:04:53,039 Speaker 1: Green or like that. You know. He because he got 78 00:04:53,080 --> 00:04:55,880 Speaker 1: into bb King really got into it. So when I 79 00:04:55,960 --> 00:04:58,920 Speaker 1: first heard that sound, it was like seeing a white 80 00:04:58,960 --> 00:05:02,120 Speaker 1: whale or a lion size or something. Man hearing the 81 00:05:02,240 --> 00:05:07,479 Speaker 1: guitar amplifier and everything resonate to the trees and the 82 00:05:07,600 --> 00:05:10,600 Speaker 1: cars and the church across the street. I took my 83 00:05:10,640 --> 00:05:13,680 Speaker 1: breath away. I was like, oh my god, what is this? 84 00:05:14,080 --> 00:05:17,200 Speaker 1: You know? So he was the first one that initiated 85 00:05:17,240 --> 00:05:22,120 Speaker 1: me into loving the electric guitar and that twang thing 86 00:05:22,279 --> 00:05:26,680 Speaker 1: like you know, like Lenniemac. And I think the main 87 00:05:26,720 --> 00:05:29,000 Speaker 1: person who turned me around was John McLachlin. When I 88 00:05:29,040 --> 00:05:33,080 Speaker 1: saw them and slugs with Tony Williams and Larry Young, 89 00:05:33,640 --> 00:05:36,240 Speaker 1: that put a whole other thing on me. Miles Miles, 90 00:05:36,320 --> 00:05:40,800 Speaker 1: David's favorite guitar player. And there's a reason, his articulation 91 00:05:40,960 --> 00:05:47,120 Speaker 1: and his imagination, and we became really good friends and brothers, 92 00:05:47,200 --> 00:05:53,560 Speaker 1: and everybody fortunate and blessed. You know that I've been 93 00:05:53,600 --> 00:05:55,800 Speaker 1: at the right place at the right time, and people 94 00:05:56,600 --> 00:06:01,960 Speaker 1: adopt me, they trust me. Therefore, you know, except for 95 00:06:02,040 --> 00:06:04,560 Speaker 1: one guy. I'm not gonna say who, but when when 96 00:06:04,640 --> 00:06:06,600 Speaker 1: when he caught me looking at his hands see what 97 00:06:06,600 --> 00:06:09,520 Speaker 1: he was doing, he immediately turn turned his back to 98 00:06:09,600 --> 00:06:12,400 Speaker 1: me and he looked at me like, you know, like 99 00:06:12,520 --> 00:06:14,400 Speaker 1: I was going to steal something from him, you know, 100 00:06:15,279 --> 00:06:17,359 Speaker 1: And so that made me realize, Okay, you know, not 101 00:06:17,480 --> 00:06:20,359 Speaker 1: everybody's going to be giving. You know, some people are 102 00:06:20,360 --> 00:06:23,080 Speaker 1: gonna be really paranoided by you're stealing their stuff, you know, 103 00:06:23,560 --> 00:06:25,600 Speaker 1: even though it's not their stuff. It's BB King where 104 00:06:25,640 --> 00:06:29,800 Speaker 1: they're playing, you know. But yeah, I think when I 105 00:06:29,839 --> 00:06:32,120 Speaker 1: come came to San Francisco because so Michael Shreeve is 106 00:06:32,200 --> 00:06:35,479 Speaker 1: this rumor, he brought a lot of records of Caulturing 107 00:06:35,560 --> 00:06:37,559 Speaker 1: and Miles Only, and he says, you need to listen 108 00:06:37,600 --> 00:06:40,120 Speaker 1: to this, and I go, I do. He says, yeah, 109 00:06:40,160 --> 00:06:43,840 Speaker 1: because this, this is this is human As we said, Okay, 110 00:06:44,040 --> 00:06:46,880 Speaker 1: how old were you at that time, probably in nineteen 111 00:06:47,000 --> 00:06:50,560 Speaker 1: eighteen nineteen, and you were ready, so you were steeped 112 00:06:50,760 --> 00:06:54,880 Speaker 1: more in you'd say, at that point, more in rock music, 113 00:06:55,080 --> 00:06:58,440 Speaker 1: and then at eighteen or nineteen you started getting into jazz. Yes, 114 00:06:59,400 --> 00:07:03,279 Speaker 1: BB King was King Ray Charles, Yeah, that was that 115 00:07:03,400 --> 00:07:06,039 Speaker 1: was said. And then once, like I said, once I 116 00:07:06,120 --> 00:07:10,040 Speaker 1: discover a Monk and Coltrane and Miles it was it 117 00:07:10,120 --> 00:07:12,880 Speaker 1: was like like they say, the genius out of the bottle. 118 00:07:13,040 --> 00:07:14,720 Speaker 1: You know, you can't put it back in, you know, 119 00:07:15,000 --> 00:07:17,520 Speaker 1: and it's the band that the band that we know 120 00:07:17,680 --> 00:07:22,480 Speaker 1: you as was that your first San Francisco band, first 121 00:07:22,480 --> 00:07:26,120 Speaker 1: San Francisco band was drummer and a bass player that 122 00:07:26,360 --> 00:07:28,880 Speaker 1: they kind of took me in because I just came 123 00:07:28,920 --> 00:07:32,960 Speaker 1: from Tijuana. They had instruments and I barely had a guitar, 124 00:07:33,080 --> 00:07:35,720 Speaker 1: so they helped me get an amplifier. And but we 125 00:07:35,720 --> 00:07:38,400 Speaker 1: were entering contests like the Battle of the Band sin 126 00:07:38,440 --> 00:07:41,440 Speaker 1: San Francisco, Kaya and you know like that. And they 127 00:07:41,440 --> 00:07:44,560 Speaker 1: had like a thousand bands in a gym, in a 128 00:07:44,640 --> 00:07:48,720 Speaker 1: school gym, and it thin out because they wanted something original. 129 00:07:48,760 --> 00:07:51,440 Speaker 1: They didn't want, you know, another Rolling Stones or the 130 00:07:51,440 --> 00:07:54,280 Speaker 1: Who kind of clones and and we had this black 131 00:07:54,320 --> 00:07:58,720 Speaker 1: lady name Joey's Dunne, and we were doing different interpretations 132 00:07:58,760 --> 00:08:01,640 Speaker 1: of heat wave. We got it all the way to 133 00:08:01,760 --> 00:08:04,800 Speaker 1: number three at the Kyle Palace, amongst all the other 134 00:08:04,800 --> 00:08:07,040 Speaker 1: bands you know that were dusted. We were in the 135 00:08:07,080 --> 00:08:09,800 Speaker 1: top three. And the only reason we lost, I think, 136 00:08:09,880 --> 00:08:13,239 Speaker 1: is because my partner's got so scared. They got drunk, 137 00:08:13,640 --> 00:08:16,600 Speaker 1: literally drunk drunk, you know, and I was like, oh man, 138 00:08:17,440 --> 00:08:19,680 Speaker 1: you know, and I was so pissed off it embarrassed, 139 00:08:19,680 --> 00:08:22,600 Speaker 1: you know, because they couldn't play, you know, but it 140 00:08:22,720 --> 00:08:25,000 Speaker 1: was it was it was the beginning of giving me 141 00:08:25,160 --> 00:08:28,680 Speaker 1: a confidence that I could fit where the Grateful Dead 142 00:08:28,760 --> 00:08:32,280 Speaker 1: were and what Paul battlefield was and and and that's 143 00:08:33,080 --> 00:08:36,240 Speaker 1: Bill graham Sali like, you know, everything that you do 144 00:08:36,600 --> 00:08:40,439 Speaker 1: begets confidence, you know, in clarity. They're like, well, I 145 00:08:40,480 --> 00:08:42,960 Speaker 1: can do this. You know. You see Cream or you 146 00:08:43,000 --> 00:08:44,760 Speaker 1: see Hendricks. They're like, oh, even though a lot of 147 00:08:44,800 --> 00:08:48,600 Speaker 1: people quit after they see Hendricks, I said, I said, 148 00:08:48,600 --> 00:08:51,160 Speaker 1: it's got to be something that he ain't doing that 149 00:08:51,200 --> 00:08:54,079 Speaker 1: I can do it, you know. So I discovered Gobor 150 00:08:54,200 --> 00:08:59,920 Speaker 1: Sawo and Bola Sete and guitars with congas. Yeah, when 151 00:09:00,040 --> 00:09:02,959 Speaker 1: did you first see Hendrix at the Fillmore? And that 152 00:09:03,000 --> 00:09:06,480 Speaker 1: was a revelation because Jimi Hendris was probably the only 153 00:09:06,480 --> 00:09:09,320 Speaker 1: guitar player that I knew or ever will ever know 154 00:09:09,400 --> 00:09:13,719 Speaker 1: that could play in cinemascopes around around with feedback on 155 00:09:13,720 --> 00:09:17,920 Speaker 1: one note, you know, without being wiped out by it. 156 00:09:17,920 --> 00:09:20,920 Speaker 1: It was, you know, he's like a surfer that ride 157 00:09:20,920 --> 00:09:23,960 Speaker 1: the big Kahuna and sound waves and knew what he 158 00:09:24,040 --> 00:09:27,640 Speaker 1: was doing. It didn't control him, he controlled it. So 159 00:09:27,679 --> 00:09:30,360 Speaker 1: that was a revelation. It's interesting when you say that, 160 00:09:30,400 --> 00:09:33,520 Speaker 1: I never thought about this before. But but normally when 161 00:09:33,559 --> 00:09:35,679 Speaker 1: you think of feedback, you think of it sort of 162 00:09:36,040 --> 00:09:38,439 Speaker 1: exactly what you said of it, sort of taking over, 163 00:09:39,160 --> 00:09:42,640 Speaker 1: and he was able to manage it. Never I never 164 00:09:42,679 --> 00:09:45,880 Speaker 1: made the connection before, even though it's yes, it's time me. 165 00:09:45,960 --> 00:09:48,120 Speaker 1: When you say it's like, of course, it's obvious, that's 166 00:09:48,120 --> 00:09:50,679 Speaker 1: why he's Jimi Hendrix, but I never thought of it. 167 00:09:51,120 --> 00:09:55,480 Speaker 1: It's a specific way like that before. It's a wave 168 00:09:55,559 --> 00:09:58,920 Speaker 1: of sounding. It's a wave of sound like culturing, and 169 00:09:58,920 --> 00:10:03,080 Speaker 1: they call him sheets of sound. But yeah, so being 170 00:10:03,120 --> 00:10:06,480 Speaker 1: in San Francisco at the right time was a revelation 171 00:10:06,800 --> 00:10:11,400 Speaker 1: from Robbie Shankar to Johnny Hooker and Jimmy and Coltrane. 172 00:10:11,600 --> 00:10:17,319 Speaker 1: You know. San Francisco was the ultimate album mater U University, 173 00:10:17,559 --> 00:10:20,360 Speaker 1: and you saw all these guys play, yeah, slide before 174 00:10:20,360 --> 00:10:23,800 Speaker 1: they were you know, Robbie when they started Freddy, it 175 00:10:23,840 --> 00:10:26,440 Speaker 1: was Freddie and the Stone Soles before it slide. And 176 00:10:26,520 --> 00:10:28,800 Speaker 1: so I got I got a chance to see like 177 00:10:28,920 --> 00:10:34,319 Speaker 1: someone sculpturing pottery, you know, like you can see that 178 00:10:34,559 --> 00:10:37,960 Speaker 1: slide coming from Johnny guitar Watson and this and Dad, 179 00:10:38,040 --> 00:10:40,480 Speaker 1: you know, and he's I can see where everybody got 180 00:10:40,880 --> 00:10:43,160 Speaker 1: where they got, you know, because we all we all 181 00:10:43,160 --> 00:10:46,200 Speaker 1: would come from somebody. Yeah, I didn't see it coming 182 00:10:46,200 --> 00:10:49,800 Speaker 1: though when my house came out with bitches brew that 183 00:10:49,920 --> 00:10:52,800 Speaker 1: was really different. And like you said, you said it 184 00:10:52,800 --> 00:10:54,880 Speaker 1: to all of us. I can go where you go, 185 00:10:55,800 --> 00:10:58,760 Speaker 1: you can't go where I go. But oh, and he 186 00:10:58,840 --> 00:11:01,480 Speaker 1: said it to you know, it's a blanket statement because 187 00:11:02,160 --> 00:11:04,920 Speaker 1: where he went, being with Charlie Parker and Coltrane was 188 00:11:05,000 --> 00:11:10,040 Speaker 1: another realm of harmonic genius. And do you think do 189 00:11:10,080 --> 00:11:12,520 Speaker 1: you think it was all intuition for him or do 190 00:11:12,559 --> 00:11:17,840 Speaker 1: you think somehow there was learning involved. Probably intuition a lot, 191 00:11:18,000 --> 00:11:20,440 Speaker 1: you know, through all the books that I read. Even 192 00:11:20,480 --> 00:11:23,360 Speaker 1: though to some people it seemed like it was complex, 193 00:11:24,040 --> 00:11:26,439 Speaker 1: if you really look at it from a divine point 194 00:11:26,480 --> 00:11:30,040 Speaker 1: of view, it was absolutely predictable. You know, the only 195 00:11:30,040 --> 00:11:33,040 Speaker 1: time that it was unpredictable is when he was not 196 00:11:33,800 --> 00:11:37,320 Speaker 1: like Prince and Michael Jackson, the persona, when he was 197 00:11:37,360 --> 00:11:40,880 Speaker 1: the spirit of Miles Davis, like Coltrane, you know, because 198 00:11:40,880 --> 00:11:45,120 Speaker 1: the persona is the ego, and that starts mimicking what 199 00:11:45,160 --> 00:11:47,680 Speaker 1: people say about him, like, oh, I'm the Prince of Darkness, 200 00:11:47,720 --> 00:11:51,120 Speaker 1: and I'm supposed to, you know, be like that. You know, 201 00:11:51,440 --> 00:11:53,240 Speaker 1: to this day, I don't understand how he could play 202 00:11:53,280 --> 00:11:57,000 Speaker 1: the way he played under heroin or cocaine. I just 203 00:11:57,080 --> 00:12:00,040 Speaker 1: hear my mother say this is not for you. And 204 00:12:02,120 --> 00:12:04,440 Speaker 1: so since she put that in my head, anytime I 205 00:12:04,679 --> 00:12:07,400 Speaker 1: try to do anything like that, I couldn't play. I 206 00:12:07,440 --> 00:12:10,920 Speaker 1: had to go to the shower and stay there until 207 00:12:10,960 --> 00:12:13,520 Speaker 1: I came back to now that I could touch my nose, 208 00:12:13,640 --> 00:12:16,560 Speaker 1: both hands with my eyes closed and makes sense of balance. 209 00:12:17,080 --> 00:12:21,360 Speaker 1: I couldn't balance anything under those chemical things because they're 210 00:12:21,400 --> 00:12:27,960 Speaker 1: not medicine, they're chemical drugs. Have you had psychodolic experiences? Natural? Um? 211 00:12:28,400 --> 00:12:31,000 Speaker 1: I started going to the film or and seeing Charles 212 00:12:31,040 --> 00:12:34,440 Speaker 1: Floyd like that, and you know, and seeing Miles like that, 213 00:12:34,600 --> 00:12:37,000 Speaker 1: and a lot of band sound rad you know, it 214 00:12:38,080 --> 00:12:41,840 Speaker 1: opened it opened. That's opened up, um. And you understand 215 00:12:41,960 --> 00:12:45,240 Speaker 1: why Jimmy's music sound Rods music and the doors music. 216 00:12:45,760 --> 00:12:51,080 Speaker 1: In certain music, it had a different dimension of It's 217 00:12:51,120 --> 00:12:56,560 Speaker 1: like watching Salvador Dolly paint, you know, with clocks melting 218 00:12:56,600 --> 00:13:00,640 Speaker 1: and stuff. You know, I love it. To me being 219 00:13:00,720 --> 00:13:06,240 Speaker 1: Mexican with the ayahuasca and the mescalan, I love brightening 220 00:13:06,320 --> 00:13:10,120 Speaker 1: and expanding your imagination to the fullest without fear. I'm 221 00:13:10,160 --> 00:13:13,240 Speaker 1: just thinking about San Francisco in those days. How many 222 00:13:13,280 --> 00:13:15,640 Speaker 1: people might be at a nightclub. If you went out 223 00:13:15,679 --> 00:13:18,520 Speaker 1: to a club and you got to see those artists, 224 00:13:19,000 --> 00:13:22,320 Speaker 1: what would the typical scene be like, Well, you go 225 00:13:22,360 --> 00:13:24,679 Speaker 1: to the Jazz Workshop and it would be West Montgomery 226 00:13:24,760 --> 00:13:29,880 Speaker 1: with Miroslav Toes. And you go to Matador it would 227 00:13:29,920 --> 00:13:34,839 Speaker 1: be Calciated with Mungo and Louis Bobo, Armando or Bola 228 00:13:34,920 --> 00:13:37,800 Speaker 1: said there, you know. And you go to the Both 229 00:13:37,800 --> 00:13:41,480 Speaker 1: Hand and visit Zadero and they'd be Miles or leam Oregan. 230 00:13:42,000 --> 00:13:44,480 Speaker 1: And you go to the Fillmore and you see what 231 00:13:44,679 --> 00:13:47,920 Speaker 1: was really prescious about Bill Graham that he said to 232 00:13:47,960 --> 00:13:50,480 Speaker 1: the hippies, if you want to hear the Grateful Dead, 233 00:13:50,480 --> 00:13:53,040 Speaker 1: you gotta hear Miles Davis first. And if you want 234 00:13:53,040 --> 00:13:55,360 Speaker 1: to hear Santana, you gotta hear Roland Kirk, you know. 235 00:13:55,800 --> 00:14:00,840 Speaker 1: So he made it a mandatory to the minds of 236 00:14:00,880 --> 00:14:04,400 Speaker 1: the hippies. If you want to hear ten years after, 237 00:14:05,040 --> 00:14:07,679 Speaker 1: you're gonna have to hear Buddy Rich first, you know. 238 00:14:07,840 --> 00:14:10,320 Speaker 1: And he told me that the reason he put body 239 00:14:10,400 --> 00:14:12,560 Speaker 1: Rich in front of him is because he was really 240 00:14:12,559 --> 00:14:15,120 Speaker 1: annoyed by the drummer we ten years after. He was 241 00:14:15,120 --> 00:14:17,720 Speaker 1: a little arrogant and cocky, and he says, I'm want 242 00:14:17,720 --> 00:14:20,600 Speaker 1: to fix his ass man, I want to put so 243 00:14:20,680 --> 00:14:23,760 Speaker 1: he so he went and got Buddy Rich to open 244 00:14:23,880 --> 00:14:27,320 Speaker 1: up for the He made him listen, you know, and 245 00:14:27,400 --> 00:14:30,920 Speaker 1: I was like, then, Bill, your crew, you know, but 246 00:14:31,080 --> 00:14:34,040 Speaker 1: we need that more than ever now. You know, there's 247 00:14:34,080 --> 00:14:39,720 Speaker 1: no cross pollenization of greatness with the youngsters, you know. 248 00:14:39,800 --> 00:14:45,200 Speaker 1: So consequently everything everything sounds the same and terrible. What 249 00:14:45,400 --> 00:14:48,360 Speaker 1: gave Bill the inspiration to put these people together and 250 00:14:48,400 --> 00:14:51,280 Speaker 1: to want to share these different genres with people who 251 00:14:51,400 --> 00:14:54,240 Speaker 1: might not have known that they wanted to hear it? Well? 252 00:14:54,240 --> 00:14:57,920 Speaker 1: He grew up in the Caskills in New York, working 253 00:14:57,960 --> 00:15:01,000 Speaker 1: as a waiter Maitre d and the waiter, but when 254 00:15:01,000 --> 00:15:03,800 Speaker 1: he had free time he would go to uh Courso 255 00:15:04,080 --> 00:15:07,560 Speaker 1: it was this place, and I bought a block two 256 00:15:07,600 --> 00:15:11,400 Speaker 1: blocks from the Apollo and it was put Tito Pointe 257 00:15:11,560 --> 00:15:14,920 Speaker 1: and so he wasn't he was totally dead dead out 258 00:15:14,960 --> 00:15:20,360 Speaker 1: into Tito Pointe and Mongo. And he was incredible dancer, 259 00:15:20,600 --> 00:15:25,000 Speaker 1: salsa dancer before they called it salts. So when you 260 00:15:25,080 --> 00:15:28,720 Speaker 1: heard Santana. He says, you are the perfect baby. They 261 00:15:28,800 --> 00:15:31,880 Speaker 1: came from Baby King and Tito Pointe. I said, I 262 00:15:31,920 --> 00:15:36,640 Speaker 1: am yeah, and you and so he basically kind of 263 00:15:36,680 --> 00:15:40,200 Speaker 1: like adopted me more than the band. He was like Miles. 264 00:15:40,200 --> 00:15:43,400 Speaker 1: It would call me, you know, I'm not bragging it, 265 00:15:43,400 --> 00:15:45,720 Speaker 1: but they call me, you know, people who love me 266 00:15:45,760 --> 00:15:48,360 Speaker 1: call me John Leed and my phone would ring. And 267 00:15:48,680 --> 00:15:50,960 Speaker 1: I mean I say this all the time for many, many, 268 00:15:50,960 --> 00:15:53,280 Speaker 1: many years. I never got an award at the Grammys. 269 00:15:53,520 --> 00:15:56,280 Speaker 1: But it didn't matter to me because my phone is 270 00:15:56,360 --> 00:16:00,760 Speaker 1: ringing and it's Wayne or Miles or Jocko or Stevie, 271 00:16:00,840 --> 00:16:03,120 Speaker 1: you know, like that, the greatest musicians are calling me 272 00:16:03,480 --> 00:16:05,960 Speaker 1: and we're just checking on each other, you know. So 273 00:16:06,160 --> 00:16:08,840 Speaker 1: that was a validation. So you need man. When Miles 274 00:16:08,880 --> 00:16:11,080 Speaker 1: called you anytime of the night, you know, and he 275 00:16:11,120 --> 00:16:14,240 Speaker 1: wants to know what you're into, that's a validation. You know. 276 00:16:14,600 --> 00:16:17,360 Speaker 1: So beautiful, so great, so great that you got to 277 00:16:17,360 --> 00:16:21,000 Speaker 1: know him any Do you have any funny stories related 278 00:16:21,040 --> 00:16:24,360 Speaker 1: to Miles, I hear he's quite the character. Anything you 279 00:16:24,360 --> 00:16:26,880 Speaker 1: want to talk about, well, there's so many, you know, 280 00:16:27,000 --> 00:16:30,720 Speaker 1: some of them are like, um, what was really funny 281 00:16:30,800 --> 00:16:33,920 Speaker 1: about him? Is that he was funnier than Richard Pryor. 282 00:16:34,000 --> 00:16:37,560 Speaker 1: He really really west and I was just bust up, like, man, 283 00:16:37,680 --> 00:16:40,440 Speaker 1: this guy is like I was just saying, because they're 284 00:16:40,840 --> 00:16:44,840 Speaker 1: they're not PG at all, you know. But he was 285 00:16:44,880 --> 00:16:47,120 Speaker 1: fun to be around. Oh. He was definitely if he 286 00:16:47,240 --> 00:16:49,600 Speaker 1: loved if he liked you, it was really fun. If 287 00:16:49,640 --> 00:16:53,240 Speaker 1: he didn't like you, he would just say, must you 288 00:16:53,400 --> 00:16:57,240 Speaker 1: be here? Wow? That was his way to dismiss somebody, 289 00:16:57,520 --> 00:17:02,440 Speaker 1: you know, like these you know, we'll be right back 290 00:17:02,480 --> 00:17:10,680 Speaker 1: with Carlos, Cindy and Rick after a quick break. We're 291 00:17:10,720 --> 00:17:13,600 Speaker 1: back with Carlos Santana and Cindy black Man. Tell me 292 00:17:13,640 --> 00:17:17,240 Speaker 1: about leading up to making your first album. What were 293 00:17:17,240 --> 00:17:20,720 Speaker 1: you playing in Clouds? Was there a regular a regular 294 00:17:20,760 --> 00:17:24,040 Speaker 1: gig at that time. Yeah. Once we formed the band, 295 00:17:24,200 --> 00:17:28,920 Speaker 1: Bill Graham saw that we were opening and then he 296 00:17:28,960 --> 00:17:30,840 Speaker 1: he put a stamp on us. He goes, Okay, you're 297 00:17:30,840 --> 00:17:33,440 Speaker 1: gonna open out for the Who, and you're gonna open 298 00:17:33,440 --> 00:17:36,480 Speaker 1: out for money, Holly Wolf, and you're gonna happen out 299 00:17:36,520 --> 00:17:39,840 Speaker 1: for a slide. You're gonna you know, creating us clear 300 00:17:39,880 --> 00:17:42,600 Speaker 1: Water and we started Stepping Wolf. We opened out for 301 00:17:42,680 --> 00:17:46,240 Speaker 1: everybody before we recorded, so We were basically playing this 302 00:17:46,240 --> 00:17:49,000 Speaker 1: this material for about a year and a half before 303 00:17:49,040 --> 00:17:50,800 Speaker 1: we went to the studio, and we knew it, We 304 00:17:50,880 --> 00:17:53,000 Speaker 1: knew how to, we knew what we were what to 305 00:17:53,000 --> 00:17:56,000 Speaker 1: do with Jingo. You know, Jingo was we just heard 306 00:17:56,040 --> 00:17:58,639 Speaker 1: a bunch of congo players at Aquatic Park in San 307 00:17:58,680 --> 00:18:03,280 Speaker 1: Francisco and Gary Dells where jing you know, bunch of 308 00:18:03,840 --> 00:18:07,600 Speaker 1: twenty two congo players one flute and they're all chanting jingle. 309 00:18:07,640 --> 00:18:09,800 Speaker 1: And I was like, oh my god, what the hell 310 00:18:10,000 --> 00:18:12,000 Speaker 1: is Jingo? You know how didn't know? It's all about 311 00:18:12,000 --> 00:18:16,520 Speaker 1: ten years ago. The jingle means go with God. Jingle jingle, 312 00:18:17,040 --> 00:18:19,560 Speaker 1: go with go with God. So it's a it's a 313 00:18:19,560 --> 00:18:23,600 Speaker 1: spiritual it's a spiritual idea from all the tunit. Yeah. Wow. 314 00:18:24,200 --> 00:18:27,000 Speaker 1: So everybody was like, what do y'all call that music 315 00:18:27,040 --> 00:18:32,080 Speaker 1: you're playing? Stephen and Koreans Clairware like okay, looking at it, 316 00:18:32,200 --> 00:18:33,960 Speaker 1: especially because they're looking at us and looking at the 317 00:18:34,000 --> 00:18:39,040 Speaker 1: audience and they're seeing the immediate marriage responds. You know. 318 00:18:39,720 --> 00:18:42,480 Speaker 1: So by the time we got to the studio, everybody 319 00:18:42,520 --> 00:18:45,880 Speaker 1: was fighting to get us in their in their record company, 320 00:18:46,200 --> 00:18:52,719 Speaker 1: h Atlantic and Electra and Sony, so they CBS. They 321 00:18:52,760 --> 00:18:55,920 Speaker 1: found this um producer at the time. The name is 322 00:18:56,000 --> 00:19:00,000 Speaker 1: David Rubinson, and he had produce because if at least 323 00:19:00,000 --> 00:19:03,520 Speaker 1: piano and and I'm as Santamaria, so I said, oh, 324 00:19:03,600 --> 00:19:07,040 Speaker 1: he knows how to record, gone guess so he I 325 00:19:07,080 --> 00:19:09,200 Speaker 1: don't know if he knows how to record like the guitars, 326 00:19:09,240 --> 00:19:12,879 Speaker 1: We'll see. And we did an album in LA for 327 00:19:13,000 --> 00:19:16,560 Speaker 1: about two weeks and it just didn't sound it or 328 00:19:16,680 --> 00:19:19,960 Speaker 1: felt anything like we sounded like. So we said, so 329 00:19:20,960 --> 00:19:23,560 Speaker 1: we told CBS, we'll pay for the sessions, but we're 330 00:19:23,640 --> 00:19:26,480 Speaker 1: not going to be He's not our producer. We don't 331 00:19:26,520 --> 00:19:28,560 Speaker 1: want him, with all respect to him. But it's like, 332 00:19:29,160 --> 00:19:33,359 Speaker 1: but don't know, you know, I know that some people, 333 00:19:33,800 --> 00:19:36,600 Speaker 1: being the first, you're not supposed to have a say 334 00:19:36,640 --> 00:19:39,480 Speaker 1: song which which you know they choose for you, and 335 00:19:39,800 --> 00:19:41,600 Speaker 1: I don't. We don't care. He says, well, who are 336 00:19:41,600 --> 00:19:43,960 Speaker 1: you going to get? I said, we'll find somebody. We 337 00:19:44,160 --> 00:19:46,000 Speaker 1: literally went to here to Ashbury and find one of 338 00:19:46,040 --> 00:19:48,040 Speaker 1: the first hippies that we saw, and we heard that 339 00:19:48,160 --> 00:19:50,879 Speaker 1: you could engineer a little bit as herd about it. 340 00:19:51,080 --> 00:19:54,560 Speaker 1: You know, I forget the same and so that's what 341 00:19:54,640 --> 00:19:56,520 Speaker 1: the album sound is so horrible. You know, when we 342 00:19:56,640 --> 00:19:59,680 Speaker 1: first heard it in Cambridge, Massachusetts, one week before we 343 00:19:59,720 --> 00:20:02,080 Speaker 1: played with Stuck. I would came out a week before 344 00:20:02,119 --> 00:20:06,959 Speaker 1: we came out playing with Stuck, and we said, whoa us, 345 00:20:07,040 --> 00:20:11,280 Speaker 1: but it sounds terrible. The cone gets in the drums, 346 00:20:11,320 --> 00:20:13,639 Speaker 1: I'm so fan in the guitar, like, oh my god. 347 00:20:13,800 --> 00:20:16,919 Speaker 1: You know, it's unusual that you were that you again, 348 00:20:17,119 --> 00:20:19,960 Speaker 1: at that age, had the confidence to say this is 349 00:20:20,040 --> 00:20:22,680 Speaker 1: not my this is not our album when you recorded 350 00:20:22,760 --> 00:20:25,440 Speaker 1: that first one, because so many young bands in that 351 00:20:25,600 --> 00:20:29,560 Speaker 1: position just go with it and feel like because they 352 00:20:29,840 --> 00:20:33,400 Speaker 1: they have gone through the process that that's what it's 353 00:20:33,440 --> 00:20:39,240 Speaker 1: supposed to be. It's funny how your confidence changes when 354 00:20:39,359 --> 00:20:43,000 Speaker 1: you're able to play I wouldn't say under but over 355 00:20:43,760 --> 00:20:48,920 Speaker 1: Murray one on LSD. You know, you either become a 356 00:20:49,000 --> 00:20:52,879 Speaker 1: wimpy or you become really really treacherous in your convictions. 357 00:20:53,440 --> 00:20:55,840 Speaker 1: Like give you an example when we when I heard 358 00:20:55,920 --> 00:21:00,520 Speaker 1: on LSD on Friday night party time are any time 359 00:21:00,600 --> 00:21:04,320 Speaker 1: you know this guy, this dig and he's playing Latin 360 00:21:04,480 --> 00:21:06,880 Speaker 1: music and all kinds of music. Because at that time 361 00:21:07,359 --> 00:21:09,040 Speaker 1: it was like you know, from A to C and 362 00:21:09,240 --> 00:21:12,080 Speaker 1: radio and they were playing oh You're coming boy, and 363 00:21:12,240 --> 00:21:16,080 Speaker 1: I said, man, this is a great Saturday night party 364 00:21:16,320 --> 00:21:19,920 Speaker 1: song like Louie Louie or whatever. You know. I wanted 365 00:21:19,920 --> 00:21:23,640 Speaker 1: to get those songs that that every time you play 366 00:21:23,880 --> 00:21:27,240 Speaker 1: it's like Friday and Saturday after school, you know, you 367 00:21:27,359 --> 00:21:30,560 Speaker 1: go to a play, somebody has a party and the 368 00:21:30,600 --> 00:21:33,120 Speaker 1: guys some band were like, this ain't rock and roll. 369 00:21:34,920 --> 00:21:37,280 Speaker 1: I was like, man, I don't care when we're playing 370 00:21:37,359 --> 00:21:41,720 Speaker 1: this thing, you know. And so a lot of a lot, 371 00:21:41,960 --> 00:21:45,520 Speaker 1: a lot can be said about conviction, not organs, but 372 00:21:46,080 --> 00:21:51,280 Speaker 1: you have to have the conviction to go for your destiny. Sound. Yeah, 373 00:21:52,080 --> 00:21:54,720 Speaker 1: I was reading about that this morning, coincidentally, about the 374 00:21:54,800 --> 00:21:59,760 Speaker 1: Star people. Star people have They're like ascended beings that 375 00:22:00,000 --> 00:22:04,760 Speaker 1: transformers of consciousness, bringing new ideas, visions, and solutions and 376 00:22:04,880 --> 00:22:09,639 Speaker 1: inspire artists musicians to elevate, transform illuminate consciousness to a 377 00:22:09,720 --> 00:22:14,399 Speaker 1: higher state. They serve as conduits, mediums, and channels. They 378 00:22:14,480 --> 00:22:19,040 Speaker 1: have special gifts and heavenly powers. Everyone's imbued with that, 379 00:22:20,119 --> 00:22:23,399 Speaker 1: but I think that if you're not careful, the world 380 00:22:23,840 --> 00:22:28,920 Speaker 1: will program you to be less than that. Absolutely, absolutely, 381 00:22:29,000 --> 00:22:32,159 Speaker 1: because everyone's got it, We're all born with it, and 382 00:22:32,400 --> 00:22:37,920 Speaker 1: some of us just get get it beaten out of us. Unfortunately. Yeah, yeah, 383 00:22:38,000 --> 00:22:41,840 Speaker 1: and where we are today. You know, with Cindy, it's 384 00:22:41,920 --> 00:22:46,879 Speaker 1: a very special not even special, especially when something's on sale. 385 00:22:49,560 --> 00:22:54,560 Speaker 1: This is divine when you find a person that matches 386 00:22:55,560 --> 00:23:02,320 Speaker 1: the fervor of the vision. Yes, yeah, amazing. Well, when's 387 00:23:02,359 --> 00:23:04,480 Speaker 1: the first time you guys played together. The first time 388 00:23:04,520 --> 00:23:08,960 Speaker 1: we played together was when Carlos needed a drummer and 389 00:23:10,040 --> 00:23:12,040 Speaker 1: Dennis Chambers was in the band at that time and 390 00:23:12,160 --> 00:23:15,680 Speaker 1: had I guess something else booked on a gig that 391 00:23:15,840 --> 00:23:19,119 Speaker 1: was off the schedule that Carlos Scott and he called me. 392 00:23:19,200 --> 00:23:22,600 Speaker 1: I had met him just briefly. I was with Lenny 393 00:23:22,640 --> 00:23:27,200 Speaker 1: Kravitz and it was a festival in Germany, and I 394 00:23:27,320 --> 00:23:29,560 Speaker 1: know Dennis. I've known himselves like fourteen so we were 395 00:23:29,600 --> 00:23:31,679 Speaker 1: hanging out in the back and I met Carlos really briefly, 396 00:23:31,760 --> 00:23:34,480 Speaker 1: like hi, how are you, and went on to watch 397 00:23:34,600 --> 00:23:37,320 Speaker 1: videos or whatever I was doing, so I didn't really 398 00:23:37,880 --> 00:23:40,920 Speaker 1: interact or talk to him at that point. But then 399 00:23:41,080 --> 00:23:44,800 Speaker 1: when he needed a sub for Dennis, they somebody called 400 00:23:44,840 --> 00:23:48,240 Speaker 1: me and before they could finish the question of whether 401 00:23:48,320 --> 00:23:49,800 Speaker 1: or not I would do it, of course I was 402 00:23:49,880 --> 00:23:56,840 Speaker 1: saying yes, so cool. Yeah, it's it's amazing that I 403 00:23:57,000 --> 00:24:01,320 Speaker 1: first met you when you were I guess auditioning to 404 00:24:01,400 --> 00:24:04,240 Speaker 1: be in Lenny's band. Yes, in your house in my 405 00:24:04,440 --> 00:24:09,000 Speaker 1: house in Los Angeles a long time ago. Yeah, nineteen ninety. 406 00:24:09,119 --> 00:24:11,960 Speaker 1: It was in the nineteen ninety two because it was 407 00:24:12,119 --> 00:24:15,280 Speaker 1: I went there right before, um, right after Christmas, and 408 00:24:15,400 --> 00:24:19,920 Speaker 1: stayed through New Year's Yeah, and um that was the 409 00:24:20,000 --> 00:24:21,880 Speaker 1: house that you had just purchased. So there was really 410 00:24:21,960 --> 00:24:23,879 Speaker 1: like nothing in it because you weren't even living here. No, 411 00:24:23,960 --> 00:24:26,520 Speaker 1: we were doing construction on it. And I remember Lenny saying, 412 00:24:26,520 --> 00:24:28,000 Speaker 1: can I stay in your house. It's like, well, it's 413 00:24:28,080 --> 00:24:30,160 Speaker 1: under construction. He's like, now, we'll stay in it anyway, 414 00:24:31,040 --> 00:24:36,200 Speaker 1: and yeah, everybody and I basically he was staying upstairs 415 00:24:36,480 --> 00:24:39,840 Speaker 1: and I was basically down in that basement. Yeah. I 416 00:24:39,960 --> 00:24:42,760 Speaker 1: had the drums down there. I was, you know, after 417 00:24:43,160 --> 00:24:46,760 Speaker 1: I played and in kind of audition. Then I just 418 00:24:47,040 --> 00:24:50,159 Speaker 1: stayed down there and learned the songs. Um. I basically 419 00:24:50,240 --> 00:24:52,479 Speaker 1: lived in there for two weeks and then we did 420 00:24:52,560 --> 00:24:54,879 Speaker 1: the are you Gonna Go My Way? Video? Yeah, um, 421 00:24:55,119 --> 00:24:57,080 Speaker 1: and then then I went home after that. But yeah, 422 00:24:57,119 --> 00:24:59,359 Speaker 1: that was the first time we met as well. Amazing 423 00:25:00,880 --> 00:25:06,800 Speaker 1: We're sitting setting our eyes towards the new frontier. It's 424 00:25:06,960 --> 00:25:12,399 Speaker 1: natural to reinvent yourself at this point. For us, there's 425 00:25:12,440 --> 00:25:16,679 Speaker 1: one word that is bringing it all together. That words 426 00:25:16,680 --> 00:25:19,680 Speaker 1: called miraculous. Just this word. We are really going to 427 00:25:19,800 --> 00:25:23,840 Speaker 1: call our tour miraculous. At twenty twenty, we haven't even 428 00:25:23,880 --> 00:25:27,040 Speaker 1: played one song yet or even written. But I have 429 00:25:27,200 --> 00:25:30,119 Speaker 1: total faith, you know, Rick, that that that this is 430 00:25:30,160 --> 00:25:34,119 Speaker 1: the way to like, you know, people make the thing 431 00:25:34,160 --> 00:25:37,200 Speaker 1: about a Love Supreme or Abbey Road or you know, 432 00:25:38,760 --> 00:25:41,159 Speaker 1: we Supernatural was pretty mean. You know, I got to 433 00:25:41,200 --> 00:25:44,920 Speaker 1: say perunatial. Supernatural was pretty mean. But I'm ready to 434 00:25:45,080 --> 00:25:49,600 Speaker 1: create something that it reaches the four corners of the 435 00:25:49,720 --> 00:25:58,560 Speaker 1: world with a different kind of consciousness that makes people cry, laugh, dance, especially, 436 00:25:59,240 --> 00:26:04,440 Speaker 1: and remember their own light. Beautiful. How do you see 437 00:26:04,520 --> 00:26:08,720 Speaker 1: the relationship between spirituality and music. It's like breathing in 438 00:26:08,840 --> 00:26:11,560 Speaker 1: and breathing out is the same lungs. You know, the 439 00:26:12,119 --> 00:26:20,280 Speaker 1: spirituality in music and sensuality is exactly the same thing. 440 00:26:20,400 --> 00:26:24,160 Speaker 1: Because everyone says, oh my God at that point. Yea, 441 00:26:24,400 --> 00:26:29,080 Speaker 1: even even atheists say oh my God, because you can't 442 00:26:29,119 --> 00:26:32,520 Speaker 1: say oh me or whatever. Yeah, did you ever get 443 00:26:32,560 --> 00:26:35,760 Speaker 1: to point they play? Oh yeah, we played many times together. 444 00:26:36,640 --> 00:26:38,960 Speaker 1: He was my dad's favorite. I got to see him 445 00:26:38,960 --> 00:26:43,680 Speaker 1: play as a kid several times. Yeah. He collegiator and 446 00:26:43,760 --> 00:26:49,120 Speaker 1: Buddy Rich were awesome leaders who brought to the masses. 447 00:26:49,560 --> 00:26:53,040 Speaker 1: I forgive music black music. They all play black music, 448 00:26:54,160 --> 00:26:57,080 Speaker 1: you know. I mean they play all music, but you 449 00:26:57,160 --> 00:26:59,760 Speaker 1: know the best part of Buddy Rich, you play black music. 450 00:27:00,160 --> 00:27:03,760 Speaker 1: Did did Fiana music happen at a similar time to 451 00:27:03,880 --> 00:27:08,640 Speaker 1: your music? Yeah? Yeah. They came in because they saw 452 00:27:08,680 --> 00:27:11,520 Speaker 1: that it was working. They you know, they said, oh, 453 00:27:12,359 --> 00:27:16,960 Speaker 1: who is this Mexican from San Francisco and Tijuana. It 454 00:27:17,160 --> 00:27:19,800 Speaker 1: doesn't even know cloud it. And but it was Reberetto 455 00:27:19,880 --> 00:27:22,680 Speaker 1: who said, ladies and gentlemen, there's a there's a musician 456 00:27:22,720 --> 00:27:25,560 Speaker 1: in the house. And I went, oh, and he says, 457 00:27:25,560 --> 00:27:27,960 Speaker 1: there's a musician in the house. Was taking our music 458 00:27:28,240 --> 00:27:30,560 Speaker 1: to the four corners of the world. This is Santana, 459 00:27:30,840 --> 00:27:32,360 Speaker 1: and I want you to give him a nice hand. 460 00:27:32,880 --> 00:27:36,480 Speaker 1: That was Reberetto. Not everybody was so nice. Some people 461 00:27:36,520 --> 00:27:40,600 Speaker 1: were really jealous, pissed off and insecure because we were 462 00:27:40,640 --> 00:27:43,120 Speaker 1: taking so called their music. And I said, well, it's 463 00:27:43,119 --> 00:27:47,840 Speaker 1: not your music, it's African music. Before Puerto Rico or 464 00:27:47,960 --> 00:27:53,040 Speaker 1: Cuba was invented, they were already playing this music like 465 00:27:53,200 --> 00:27:57,040 Speaker 1: like you know Wahita, you know so so I immediately 466 00:27:57,080 --> 00:27:58,840 Speaker 1: would go, well, what do you mean, it's your O music? 467 00:27:59,000 --> 00:28:03,200 Speaker 1: You know. Like for me it was easy to I'm 468 00:28:03,280 --> 00:28:05,880 Speaker 1: just grateful to be in the center of it all. 469 00:28:06,520 --> 00:28:08,560 Speaker 1: And if we to this day, man, if we play 470 00:28:08,640 --> 00:28:12,040 Speaker 1: with Jimmy Hendrix, when we do play with Jimmy Hendrix 471 00:28:12,160 --> 00:28:15,040 Speaker 1: and about Marley and Coltrane, they're going to open their 472 00:28:15,160 --> 00:28:19,600 Speaker 1: arms to us because we're coming from exactly the same place, 473 00:28:20,240 --> 00:28:25,760 Speaker 1: which is multi dimensional collective consciousness commonality. We'll be right 474 00:28:25,800 --> 00:28:33,400 Speaker 1: back with Carlos, Cindy and Rick. After the break, we're 475 00:28:33,480 --> 00:28:36,919 Speaker 1: back with Carlos Santana and Cindy Blackman. It was thrilling 476 00:28:36,960 --> 00:28:39,520 Speaker 1: for me to be in the room when you were playing, 477 00:28:39,840 --> 00:28:44,320 Speaker 1: because it really felt like there was a presence at 478 00:28:44,360 --> 00:28:47,760 Speaker 1: the space beyond any of the people. There is that 479 00:28:48,560 --> 00:28:52,640 Speaker 1: ability to call up that presence is that always been 480 00:28:52,720 --> 00:28:56,200 Speaker 1: there for you pretty much pretty much. So, you know, 481 00:28:57,520 --> 00:29:00,840 Speaker 1: I had this dream on my birthday, John Coltrane came 482 00:29:00,920 --> 00:29:03,280 Speaker 1: to visit me. I had this visitation. I don't even 483 00:29:03,320 --> 00:29:06,520 Speaker 1: call it a dream. I went to see in my 484 00:29:06,720 --> 00:29:11,440 Speaker 1: dream and to hear John McLaughlin, the Catalyst, this funky 485 00:29:11,520 --> 00:29:15,080 Speaker 1: club in Santa Cruz. And I was getting ready to 486 00:29:15,240 --> 00:29:18,800 Speaker 1: get him close, as close as possible, to sit in 487 00:29:18,880 --> 00:29:21,280 Speaker 1: front of the stage as much as possible while he 488 00:29:21,360 --> 00:29:23,800 Speaker 1: was fixing his shoes and tuning his guitar, and I 489 00:29:23,880 --> 00:29:28,440 Speaker 1: don't know where parting the crowd was John Coltrane and 490 00:29:28,600 --> 00:29:31,360 Speaker 1: with his hand stretched out to me, and he grabbed 491 00:29:31,400 --> 00:29:33,240 Speaker 1: my hand and looked at me in the eye, look 492 00:29:33,280 --> 00:29:35,240 Speaker 1: at me in the eyes, and he says, Carlos, what's 493 00:29:35,280 --> 00:29:39,520 Speaker 1: the purpose of divine intentionality? And I immediately said, to 494 00:29:39,760 --> 00:29:43,800 Speaker 1: uplift those into the awareness of their own light. You know, 495 00:29:43,840 --> 00:29:47,240 Speaker 1: when I woke up and I said, Sammy and I 496 00:29:47,680 --> 00:29:50,200 Speaker 1: leave this energy season. You know, it's like, what is Sindy? 497 00:29:50,920 --> 00:29:53,840 Speaker 1: And I'm telling her to dream in my phone rings? 498 00:29:54,320 --> 00:29:59,320 Speaker 1: And as John Mclocklin from Monaco, and so I told 499 00:29:59,400 --> 00:30:03,600 Speaker 1: John the dream and he says, wow, brother, that's really 500 00:30:03,760 --> 00:30:06,200 Speaker 1: something else. He says, I had a dream too. I 501 00:30:06,280 --> 00:30:08,760 Speaker 1: had a visitation too. My house came to visit me. 502 00:30:09,640 --> 00:30:13,520 Speaker 1: I swear, you know, so for him and I and 503 00:30:14,240 --> 00:30:16,600 Speaker 1: and Stevie Ray does that a lot to me? Baby, 504 00:30:16,960 --> 00:30:20,600 Speaker 1: you know, Jocko, I'm okay with people thinking that I'm 505 00:30:20,640 --> 00:30:25,640 Speaker 1: crazy because I have more latitude. You know, people people 506 00:30:25,680 --> 00:30:27,880 Speaker 1: who are not crazy, they don't have any latitude at all, 507 00:30:28,000 --> 00:30:31,040 Speaker 1: that their normality is like really boring. And you know, 508 00:30:31,160 --> 00:30:32,920 Speaker 1: with a ceiling. You know, I don't have a ceiling. 509 00:30:33,480 --> 00:30:37,760 Speaker 1: So this visitations, you know, Cindy has her own you know, 510 00:30:38,000 --> 00:30:44,000 Speaker 1: and there's clues in there. Yeah, there there. It's like 511 00:30:45,400 --> 00:30:47,440 Speaker 1: reading a book and you outline certain things that are 512 00:30:47,880 --> 00:30:51,400 Speaker 1: like a love letter to yourself. And so I can 513 00:30:51,440 --> 00:30:54,000 Speaker 1: see that this miraculous thing has a lot to do 514 00:30:54,120 --> 00:30:57,280 Speaker 1: with possibly calling John to help us here and there. 515 00:30:57,480 --> 00:31:02,080 Speaker 1: You know, maybe it's your career in certain plays. But 516 00:31:02,200 --> 00:31:04,920 Speaker 1: I wanted so that a child can understand it. It's 517 00:31:04,960 --> 00:31:08,600 Speaker 1: important that a child can, you know, just be mesmerized 518 00:31:08,840 --> 00:31:12,480 Speaker 1: and be uplifted from herself or himself into a place 519 00:31:12,560 --> 00:31:18,360 Speaker 1: of total wonderment. If it's if it's too complicated and 520 00:31:18,920 --> 00:31:21,080 Speaker 1: you have to go to college to understand it, it's 521 00:31:21,120 --> 00:31:24,280 Speaker 1: no good for me. But you do that when you 522 00:31:24,440 --> 00:31:28,760 Speaker 1: when you when you play melodies, because your melodies are 523 00:31:28,840 --> 00:31:32,960 Speaker 1: so uh intense and and and the tone is so 524 00:31:33,080 --> 00:31:38,120 Speaker 1: beautiful that you you capture that. You know, um like 525 00:31:38,240 --> 00:31:41,840 Speaker 1: Miles Davis, you know, he plays one note and everybody 526 00:31:42,640 --> 00:31:47,600 Speaker 1: is yeahsteeing it, you know, so you have that with 527 00:31:47,800 --> 00:31:52,680 Speaker 1: whatever you're playing. I am here in this planet disincarnation 528 00:31:53,440 --> 00:31:58,400 Speaker 1: to bring healing and you raise the distance illusion between 529 00:31:58,560 --> 00:32:05,600 Speaker 1: you and your high you beautiful. That's it. Yeah, to 530 00:32:05,880 --> 00:32:09,160 Speaker 1: end this album miraculous. I want to end it with 531 00:32:09,920 --> 00:32:12,200 Speaker 1: do do Do Do Do Do Do Do Do Do 532 00:32:13,360 --> 00:32:15,800 Speaker 1: Do Do Do Do do do do do do do 533 00:32:16,760 --> 00:32:23,840 Speaker 1: You know the rest life is but a dream. That's fantastic, 534 00:32:24,440 --> 00:32:27,800 Speaker 1: you know, because that's that's I say. You gotta reach 535 00:32:27,880 --> 00:32:31,560 Speaker 1: the children many of all ages. You know, you do 536 00:32:31,880 --> 00:32:35,200 Speaker 1: everything that you do do do do do do do 537 00:32:35,520 --> 00:32:40,600 Speaker 1: do do do. Sometimes I'll play something in the set, 538 00:32:40,640 --> 00:32:42,000 Speaker 1: you know, in front of a lot of people, like 539 00:32:42,000 --> 00:32:44,800 Speaker 1: when we play with the Dewey Brothers and uh let 540 00:32:44,920 --> 00:32:47,720 Speaker 1: them I'll do that Doo doo doo do do do 541 00:32:47,880 --> 00:32:51,120 Speaker 1: Do Do do the whole audience goes. Life is but 542 00:32:51,440 --> 00:32:56,280 Speaker 1: a dream. Okay, see you later. You know at that 543 00:32:56,360 --> 00:32:59,560 Speaker 1: point there's no republican or Democrat or disordaptment. It's just 544 00:33:00,320 --> 00:33:05,000 Speaker 1: you know, that's what's happening. Beautiful, Thank you, No, so 545 00:33:05,280 --> 00:33:08,760 Speaker 1: great to hear you, hear you speak. I always feel 546 00:33:08,800 --> 00:33:14,000 Speaker 1: like I um, I always feel like I've grown when 547 00:33:14,080 --> 00:33:18,360 Speaker 1: I get to spend time with you. Likewise, like was 548 00:33:18,520 --> 00:33:22,000 Speaker 1: your signus is really profound man? But I really learned, 549 00:33:22,360 --> 00:33:24,520 Speaker 1: Like damn, this kid, I learned so much. But hin 550 00:33:24,600 --> 00:33:28,360 Speaker 1: that's saying nothing like my else, you know. Thank you 551 00:33:31,680 --> 00:33:34,440 Speaker 1: thanks to Carlos Santana and Cindy Blackman for sharing their 552 00:33:34,520 --> 00:33:37,920 Speaker 1: vision with Rick. You can hear our favorite Santana songs 553 00:33:38,000 --> 00:33:40,640 Speaker 1: in the full Africa Speaks album by checking out our 554 00:33:40,640 --> 00:33:44,040 Speaker 1: playlist at Broken Record podcast dot com, and be sure 555 00:33:44,080 --> 00:33:46,560 Speaker 1: to subscribe to our YouTube channel at YouTube dot com 556 00:33:46,680 --> 00:33:49,840 Speaker 1: slash Broken Record Podcast, where you can find extended cuts 557 00:33:49,880 --> 00:33:53,320 Speaker 1: of past episodes and also a new once. Broken Record 558 00:33:53,400 --> 00:33:57,160 Speaker 1: is produced with help from Leah Rose, Jason Gambrel, Martin Gonzalez, 559 00:33:57,520 --> 00:34:00,760 Speaker 1: Eric Sandler, and its executive produced by me rebel I. 560 00:34:00,840 --> 00:34:03,840 Speaker 1: Theme musics by Kenny Beats. Broken Record is a production 561 00:34:03,880 --> 00:34:06,920 Speaker 1: of Pushkin Industries, and if you like Broken Record, please 562 00:34:07,000 --> 00:34:09,759 Speaker 1: remember to share, rate, and review our show on your 563 00:34:09,800 --> 00:34:12,560 Speaker 1: podcast apt. I'm justin Richmond, Peace,