Carlos Santana - Love Devotion Surrender
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Music CD Cover
Artist: Carlos SantanaPerformer: John McLaughlin
Edition: Music CD
Format: Extra tracks, Original recording reissued, Original recording remastered
CD Release Date: 2003-09-30
Music Label: Sony
Soundtracks:
- Love Supreme
- Naima
- The Life Divine
- Let Us Go into the House of the Lord
- Meditation
- A Love Supreme [Alternate, Take 2][*][Take]
- Naima [Alternate, Take 4][*][Take]
Free Music Notes for Love Devotion Surrender
Free Music Review: They say: "Never Judge a Book By it's Cover".....
Hit: 5 Stars
If ever there was a case to not 'Judge a book by its Cover', it'd be this album. A dubious looking photograph of 'Carlos Santana' & 'John McLaughlin'. Two of the most recognised and accomplished guitarist that the Jazz-rock field (McLaughlin), and Latin-rock (Santana), seemingly looking like something out of a bad clothes catalogue brochure. I myself admit, that I saw this album in my second-hand music store for months, with the cover being enough to (wrongly) convince me that this was some ill-conceived 'Vanity' project for both artists, and where the music would be one long ego trip for both musicians involved. But if you are prepared to look past the initially off-putting cover, you'll actually discover (like I did), an album that remarkably isn't mentioned more widely when referring to either artists work. Maybe this is possibly because it's more likely considered an album of music, that merely takes the existing work of 'John Coltrane' & 'Pharoah Sanders', and reinterprets them, into stunning Jazz-Rock, Fusion & Latin rock tracks, rather than an original body of work.
John Coltrane's legendary signature track "A Love Supreme" is cast within an elaborate and fiery burst of sophisticated Jazz-rock improvisations, that remain dynamic and wonderfully capture the energy of John original work, and although hearing the work, reinterpreted via the use of guitars is at first intitally disorientating, repeated listens reveal a understanding and complete respect for the original work and yet somehow manages to offer something new, in that the influence of jazz-influenced improvisation runs strong through, but that it's matched with precision elements of studious rock compostion, that only guitarist's (or indeed musicians), of this calibre could so wonderfully balance. and more importantly neither musician, dominates the music with their contributions, and instead draw on that level of studied passionate spirituality, that made up such a large part of Coltrane's later work, and when the vocal chants of "A Love Supreme" begin to waft into view, it all begins to feel like a fantastically explored progressive sound, that you can't help but feel, that John himself would have thoroughly approved of.
"Naima" is another of Coltrane's pieces that has been transposed from Jazz, to fit with in the freewheeling Blues/Latin-rock, and Fusion template here, but whereas the previous track was far more intense and confident, with it approach and excellently mixed up the spiritual with the confident and exuberant to startling effect, "Naima" is but complete contrast a much softer and more inward looking track that, has an emphasis on the use of slide guitar to relay the more organic and subdued nature of the track, and the hushed instrumentation is indicative of the contrasting and ultimately pastoral nature of the Coltrane original. And such is the delicate lushness of this track, that you'll feel a sense of disappointment that it's very brief 3 minute running time leaves you wanting more.
"The Life Divine" sees McLaughlin take on more of the arrangement and compositional duties here, as this is a sound that seems more akin to his remarkable first couple of albums with "The Mahavishnu Orchestra", and so the sound is one of the complex and electronic innovations of the guitar Jazz-fusion, that they became famous for, it certainly a energetic and invigorating piece that has that sublime improvisational fusion that served McLaughlin well, in his time as a "Miles Davis" sideman on his "Bitches Brew" and "Jack Johnson" sessions. With the heavily rhythm-orientated progressive rock, and freeform Jazz arrangements running strongly throughout the track. This track will undoubtedly appeal most to those that enjoyed the shimmering funkiness, and moody electric ethereal rhythms, and slightly aggressive tones and textures of his Jazz-rock work.
"Let Us Go into the House of the Lord" is a song that I was performed by 'Pharoah Sanders' (although I don't believe his is the composer), and at a lengthy 15 minutes, it's by far the longest track on the album, and undeniably one of the greatest compostions, and oddly it this track feels as though Carlos Santana has had more of a hand in this track, and it feels in parts closer to the ethnic and almost bluesy approach, that probably has more in common with the summery psychedelic and the playful and confident Latin-rock/Afro-Cuban, by which Santana became synonymous with. And it here that this track feels more like a Santana production because it has that feel of multiple influences: Rock, Jazz, Salsa, & Blues, all subtly texturing the sound, and making for gripping performance, especially when the two guitarist begin to start weaving some sublime guitar interplay, between the both of them. Cerebral in tone and loaded with some excellent percussion, it can at times be a very melodic and lush sounding track, and at other times remarkably technical and movingly poigiant.
This is one of those albums, that I can imagine, when it was released over 30 years ago, divided fans of both artists fanbase, as it was a wasn't quite what the fans back then were expecting from both artists (an album of mostly Jazz classics reinterpreted into Jazz Fusion??). And for those fans nowdays, that probably only know Santana through his recent albums, that feature a multitude of vocalists / Collaborators, this will undoubtedly leave most listeners scratching their heads in bemusement. But for those that are familiar with the original tracks that these versions are taken from, or indeed welcome (and indeed Love) the whole Jazz-Fusion / Jazz-Rock genre, this is a truly stunning album, that actually sounds a lot more relevant in this times of musical multi-genres, and is arguably a one-off stunning pairing of arguably two of the rock genres finest statesmen, but more importantly an amazing jam session by two exceptionally gifted guitarists, who made a unique album of intense, passionate and beautifully realised musical explorations that sound even better now, than it did back then.
Love Devotion Surrender Poster
These two guitar titans join forces in tribute to Coltrane; bonus cuts include unissued alternate takes of A Love Supreme and Naima !Classic Rock Music CDs
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