FunkFreak75 An all-star band of veritable who's who in the early Latin/jazz-ified R&B/funk scene that was, apparently, the brain child of Santana percussionist Mike Carabello and Sly & The Family Stone founder and drummer Greg Errico--a "band" that was originally meant to be called "Attitude." Most of the material was recorded in 1971 but not released until 1977/78.

Lineup / Musicians: - Greg Errico (SLY & THE FAMILY STONE) / Drums, Synthesizer, Producer - Mike Carabello (SANTANA) / Organ (B2), Congas - Doug Rauch (THE VOICES OF EAST HARLEM, THE LOADING ZONE, GÁBOR SZABÓ, SANTANA, LENNY WHITE) / Bass - Doug Rodrigues (THE VOICES OF EAST HARLEM, SANTANA, BETTY DAVIS, MANDRILL, LENNY WHITE, MAND / Guitar - Wendy Haas (SANTANA, AZTECA) / Piano, Vocals (B3) With: - Carlos Santana (SANTANA) / Guitar (B2, B3) - Neal Schon (SANTANA, JOURNEY) / Guitar - Lee Oskar (WAR) / Harmonica (A3, A4) - Greg Rollie (SANTANA) / Organ - Robert "Bobby" Vega (LEE OSKAR) / Bass [Fuzz] (A3, A4) - Chepito Areas (SANTANA) / Percussion (A3, A4, B1) - Rico Reyes (SANTANA, AZTECA) / Percussion (A3, A4, B1) - Herbie Hancock (MILES DAVIS, solo) / Piano (B1) - Mike Garcia / Vibraphone (B2) - Victor Pantoia (CHICO HAMILTON, WILLIE BOBO, GÁBOR SZABÓ, HERBIE MANN, HERBIE HANCOCK, AZTECA, BETTY DAVIS) / Congas - Bianca Thornton-Oden (LEE OSKAR, VAN MORRISON) / Vocals - Coke Escovedo (AZTECA) / Vocals - Gene Washington / Vocals - Jody Moreing (SINCERELY, SAN JOSE) / Vocals - Linda Tillery (THE CULTURAL HERITAGE CHOIR, THE LOADING ZONE, solo) / Vocals

A1. "Attitude" (3:25) pure R&B funk from the very first note, the song uses a female-dominated choir to present the "attitude" chorus between which various voices (male and female) take turns belting out their lyric. Great vocal arrangement as well as improvisations. This is not quite Disco, more like EW&F/UNDISPUTED TRUTH proto-Disco. (9/10)

A2. "They Change It" (3:29) opens with an excellent funk groove not unlike some of SLY & THE FAMILY STONE's earlier songs. It's no surprise, then, that a full choir joins in to "recite" or chant the lyrics in a "Thank You For Lettin' Me Be Myself" fashion. The bass is so funky! And the drumming, percussion, and support guitars are right on board! An amazing funk song that is diminished a bit by its kind-of-corny lyrics and vocal arrangement. (9.25/10)

Kilimanjaro suite : A3. "The Village" (4:30) a WAR-like palette that is dominated by the free-wheelin' percussion play beneath treated harmonica/whistling and organ. Very cool! Would be so fun to see performed live. There are, however, a few glitch-like issues with timing/synchrony. (8.875/10) A4. "The Summit" (4:38) the percussionists lay back from soloing and settle into a nice groove that allows Lee Oskar to take the lead on his saxophone-sounding harmonica. I love this kind of African drum-centric music. (9/10)

B1. "Pancho Villa" (5:11) organ and timbales open this one before congas and other percussionists, bass. electric piano, and trumpet join in. It is my understanding that it's pretty much the SANTANA lineup performing percussives and organ (Greg Rollie) I'm going to assume that it's Herbie Hancock on the keys (though it doesn't sound like his style of play so it could be Wendy Haas), but I'm wondering who the (uncredited) trumpet player is (Eddie Henderson?) as well as the violinist. My understanding is that this might be conga player Mike Carabello's composition. Too much simplicity as if a bare bones track established expressly to support soloists. Problem is, it's not recorded very well from the soloists' point of view and the solos aren't that noteworthy. (8.5/10)

B2. "Fried Neckbones and Home Fries" (6:32) a cover of a song written and performed by percussionist Victor Pantoja's long-time collaborator and friend, Willie Bobo, here rendered as an instrumental. It has a completely SANTANA-esque Latin/Caribbean sound and feel--especially with Carlos, the man himself's guitar solo (later taken over by Neal Schon) as well as some rather wild organ soloing from conga player Mike Carabello in the opening minute. Mike Garcia's vibraphone solo in the fourth minute is a bit simple yet harmonically interesting. Apparently this song was recorded in 1971 for Mike Carabello's solo project called "Attitude" but never found its release until Greg Errico could put things together for a full album six years later. Rated up for its excellent sound and solos; down for its simplistic, repetitive four-chord foundation. (8.875/10)

B3. "In Your Heart" (5:40) opening with a "Long Train Runnin'" sound and feel the driving, funky groove is soon joined by a choir of female-dominated voices singing in some quite lovely melodies and vocal arrangements. I can so easily get lost in wonderful weaves of rhythm instruments and percussion work like this. Apparently, a Doug Rauch and Wendy Haas jam that features Neal Schon on a spectacular display of lead guitar and, of course, Greg Errico on drums and Mike Carabello on congas. Very cool, kind of cinematic song! (9.3333/10)

Total time: 33:25

According to interviews with Errico and Carabello, the album took so long to find a label willing to release the material (most of which had been recorded in 1971) due to the predominant "party first, business later" attitude of the musicians at the time of the recording sessions. This would also explain the jam-like foundational structure of many of the songs as well as the "early" Santana sound prevalent throughout the album. All I know is that I'll take any chance I can get to hear anything the Santana crew were doing up to and during the Caravanserai era. I also love the song creators' unique visions for use of choir vocals throughout the album. Very cool!

B+/4.5 stars rated down for brevity; an awesome display of Caravanserai-like jazz-funk jamming from a veritable Latin funk-rock all-star band. Highly recommended!

FunkFreak75 Carlos and Michael Shrieve getting into spiritual exploration through Eastern teachers, at this point, mostly Parahamansa Yogananda. At the same time, the world had just had their ears and mind blown by John McLaughlin's Mahavishnu Orchestra and their debut album (and tour), The Inner Mounting Flame. Carlos had heard Doug Rauch in a concert with his band, The Voices of East Harlem, and loved his Mahavishnu-like style and enthusiasm. In fact, Michael and Carlos both credit Doug Rauch's infectious enthusiasm and endless flow of musical ideas for becoming a driving force behind the realization of this album project as well as the preceding practice tour and following world tour.

1. "Eternal Caravan of Reincarnation" (4:28) crickets and Hadley Caliman's solo saxophone signal the dawning of a new era. About halfway in, the band joins in to provide a gentle, welcoming instrumental intro to the soul-augmenting jazz that is the new orientation of Carlos, Michael, and all of their new band members. (9.25/10)

2. "Waves Within" (3:53) Carlos and Neal Schon (yes, that Neal Schon!) exchanging emotional and electrical guitar-fire (with newcomer bass-player Doug Rauch also on rhythm guitar!) Incredible earworm melodies created repeated seven-step chord progression. A song that is credited to Doug Rauch and Gregg Rollie. (10/10)

3. "Look Up (To See What's Coming Down)" (2:59) the funk is also here: the percussion and bass certainly let you know it! Great guitar interplay between Neal, Doug, and Carlos. Another song credited to Doug Rauch and Gregg Rollie (as well as Carlos) and including Doug's guitar assistance. (9.25/10)

4. "Just In Time To See The Sun" (2:19) the jamming becomes more insistent: power chords and relentless rhythm play driving this one along. Carlos's singing is okay but I know how important his spiritual message is, so it rings true. (8.875/10)

5. "Song of the Wind" (6:02) great little tune carried by the bouncy organ and steady percussion. What beautiful music--and beautiful guitar play: melodic as hell and so emotional! The other band members must have been so inspired and confident while listening to Carlos' passion: no wonder their subtle flourishes and nuances are so perfect! Neal Schon is listed as one of the authors of this one. (9.75/10)

6. "All the Love of the Universe" (7:36) the last song on Side One is oriented like a Sly & The Family Stone jam song with Chicago-like whole-band choral vocal singing. (They're really not very good as a choir). Doug Rauch's rapid fire funk bass sounds like a cross between Percy Jones' machine gun and a Disco bass. Interesting song with a lot of energy--both kinetic and potential--but probably my least favorite song on the album. (13/15)

Side Two is often referred to as "the percussionists' side."

7. "Future Primitive" (4:12) opens with an atmosphere created by space-synths (uncredited but probably provided by Michael Shrieve) that is really just a setup (and, later, underlying texture) for percussionists José "Chepito" Areas and Mingo Lewis to jam in some kind of Cuban polyrhythmic language. (4.5/5)

8. "Stone Flower" (6:14) Carlos and Michael adopt this Antonio Carlos Joabim instrumental and put their own lyrics to it (and sing it: together). Yes, the melody does sound like it was lifted from some of the recent Brazilian-based bassa nova pop songs that had been seeping into American pop radio but that's just exemplifies the broad range of music that Carlos and especially Michael were listening to at that time. Great "Nature Boy"-inspired solo from Carlos. Also, acoustic bass is used on this one instead of Doug's funky electric--here provided by Tom Rutley. Man that organ and expanded lineup of percussionists really brings this to life! (8.875/10)

9. "La Fuente del Ritmo" (4:33) a wild ride that is driven by pure Latin rhythms as written and led by Mingo Lewis. The song also introduces two new band members who would become fixtures for a while in percussionist Armando Peraza and keyboard artist Tom Coster. (9/10)

10. "Every Step of the Way" (9:04) this Michael Shrieve song opens with the total feel of a Miles, Herbie or Mahavishnu song. (It actually sounds a lot like the music the band would issue on their next album, Love Devotion Surrender, a collaboration with John McLaughlin and some of the Mahavishnu members). The nuclear detonation occurs at the three-minute mark, unleashing a barrage of energetic play from every goddam member of this band--including some who were not members (horns ! (I agree with ProgArchives admin &. reviewer Sean Trane: "Every Step of the Way" escorts the listener to a divine orgasm.) Turn this one up to 11! It deserves a 6! One of Jazz-Rock Fusion's all-time great songs! (21/20)

Total Time: 51:20

It is so exciting to discover albums from 35-40 years ago that I'd never heard before and find myself totally blown away by the 'new' music I hear. Again, thank you Max and ProgArchivists: my world of music has never been so blown open. Caravanserai is an album whose first listen flooded me with such nostalgia; I had never before realized how much Carlos' guitar playing and his Latin rhythms and amazing organists influenced my core musical likes and values until I listened to this album. Hearing "Waves Within" I was (and am each time I listen to it) overcome with a flood of emotion taking me back to the Eden that was my formative pre-teen years. While I understand the derogatory comments bestowed upon the atmospheric "introludes" ("Eternal Caravan of Reincarnation" and "Future Primitive"), I love them and find them essential to the spiritual journey Santana is taking us on. Through the years I have enjoyed many of the singers and lyrics of Santana songs, however, I quite agree that on this album their presence are, overall, IMHO, out of place with and even detract from the spirit of the rest of the music. And while many of Carlos' extended solos are backed by simple two-chord repetitions, the band is always jamming their hearts out: they're in the same cosmic groove that allows Carlos to soar--and soar he does: The man is a true master of 'stumbling' upon incredibly catchy, melodic riffs while negotiating the fret board at seeming break-neck speed. Amazing talent. Truly a god channeling the divine! A wonderful album with outstanding work from Michael Shrieve, Neal Schon, Mingo Lewis and Greg Rolie--not to mention the Devadip and the new kid on the block, Doug Rauch!

5 star songs: "Waves Within," "Look Up (To See What's Coming)," "Song of the Wind," "Every Step of the Way."

A/five stars; a true masterpiece and shining beacon of light from the young and still-forming Jazz-Rock Fusion movement--and one of my Top 20 Jazz-Rock Fusion Albums from prog's "Classic Era." One of the few concert tours for which I wish I had been a "Deadhead"/groupie.

Carmel Mac Gollehon is certainly a long standing name in the jazz genre, and his 9th album Mac Gollehon and the Hispanic Mechanics marks the course for a new era for Gollehon, with many years of touring and recording with such luminary names as David Bowie (Let’s Dance, Changes Bowie, Sound+Vision,), Duran Duran (Seven and the Ragged Tiger.., Original Gold, Big Thing, Notorious), Grace Jones (Inside Story), Chic (Dance, Dance, Dance, Live at Budokan, In Japan, Chic-ism), Blondie, Rick James, Mick Jagger, Power Station (Some like it Hot) – in truth Gollehon can be heard on over 100 gold and platinum and double platinum records. Yet it isn’t just the pop and jazz side of Gollehon’s experience that lends itself to this project it is also the heavy hitting historically important Latin artists Gollehon has shared the stage with such as: Hilton Ruiz, Larry Harlow, Nicky Marrero, Potato Valdez, Frankie Ruiz, Sonara Mantancero and Charlie Palmieri, who have left their mark in Latin genres. In addition, he recorded and arranged for Soca giants Mighty Sparrow and Arrow, the legendary arrangement of Hot Hot Hot. The combination of these genres wedded together and years on the bandstand, have created a uniquely fresh and innovative sound that offers a dramatic musical energy relevant to today’s music market.

Latin jazz and EDM combined into a marriage of thumping rhythms and pulsing lines, united with Gollehon’s singularly searing single notes, is like the cherry on top of the delicious jazz whip. The single on this album is “No More Drama,” which I might add there are two versions to choose from, the first is the opening cut to the album, with crashes and thrashes of Afro-Latin rhythms and an overtone of the days Estefan productions was in its heyday, with catchy lines and riffs, is prevalent throughout, but what sets this apart is the breakdown sections, giving it a true “mix” sound. The latter “No More Drama Drama (Touchy Feely Remix),” has more of a spacious approach with a thematic crunch rhythm throughout. Gollehon’s horn is so signature, it glistens with command. The track continues with swirling sound and pounding dance rhythms, guaranteed to keep you in the flow. Another barn burner on the album is “Dale Jamon,” laced with complex fast rhythms and masterful percussion, this track features Tina Torres in the lead vocal seat and she is on point. This track is authentic, and screams FIESTA!! Co-producer Tomas Doncker adds a Santana-esque guitar, while Gollehon peals the sky wide open with high reaching notes blasting to the stratosphere.

Gollehon and his new group the Hispanic Mechanics offer a fresh take on a traditionally based sound, dressed up for the next generation, yet holding its foot in the reality of true musicianship that is not replaced with all electronic sounds, but complimented and thrusted forward to a new generational sound. It is not often that long-time artists take such risks, but if anyone can hold that torch firmly in their hand and run with it, it is a pioneer like Gollehon. A hipster ride throughout, Mac Gollehon and the Hispanic Mechanics (True Groove Records) is an unapologetic ride of explorative jazz. Miles Davis is quoted as calling Gollehon the nickname “chops,” maybe it’s time to also add the words “pioneer.”

dreadpirateroberts Expectation.

It's always tough reviewing an album which is anticipated to be a band's 'return to its heyday' and the classic line-up from early 70s Santana is a pretty exciting prospect.

And it certainly works on just about every song. It's fun to hear interplay between Santana and Schon again for instance, especially on one of the stand-outs like 'Echizo' or the almost meditative 'Fillmore East' (and it must be said that Shrieve fires up a bit on 'Echizo' too, which is great) but there are a few songs that don't nail it for me.

Some of these are the vocal cuts ('Choo Choo' is one) but that isn't to say Rolie is in bad shape, he sounds great - especially on the smouldering 'Blues Magic' or the punchy 'Shake It' - but there's just a sense that everyone was so excited to play together again that they left a few b-sides in the running order.

Overall, the band is less fiery than in their youth (and that's not a surprise or a problem truly) but there's still passion and surprises to be had. Again, like 'Shape Shifter' a while back - I wouldn't call this an essential Jazz-rock album but don't write it off out of hand either, have a look if you're unsure.

siLLy puPPy Continuing the huge success generated by their debut album and their instant stardom generated by the Woodstock Festival in August 69, SANTANA released their 2nd album ABRAXAS the following year pretty much following the same formula of mixing rock, blues and latin jazz.

The album was an even bigger hit than the debut hitting number 1 on the Billboard album charts and selling more than twice as many albums as well as hitting big with the huge hits "Oye Como Va" and the cover of Fleetwood Mac founder Peter Green's "Black Magic Woman." SANTANA was a worldwide phenomenon by now and their unique Latin big band sound was one of the hottest things going on at the time. As with the previous album there is an army of percussionists accompanying Carlos Santana's bluesy lead guitar and Gregg Rollie's keyboards.

Although this is a great album I have always liked it a tad less than the debut. It is lacking that incessant raw and fervent drive throughout its entirety that made the first album so amazing. The songs are more varied in their approach and the music is generally the same in its sound, yet something about this album just seems like a tamed down version of the debut as a whole. Whereas the debut was a energetic display of adrenaline from beginning to end, I find this one is dragged down a tad with slower numbers like the instrumental "Samba Pa Ti."

Nothing on here is bad by any means and it's only a relativity issue for me. It also hasn't helped that I have heard the hit singles on this album to death! Even after giving classic rock radio a break for many years, I still find "Black Magic Woman" a song I no longer like to hear. Make no doubt about it, it is a classic of classics but some music can become toxic after too many listens and this i'm afraid is one of those tracks that I haven't been able to recover from. Despite that an outstanding album that just doesn't reach perfection in my world.