Santana/ Sentient

 

BY NARENDRA KUSNUR 

Santana/ Sentient 

Genre: Latino-rock

Label: Starfaith

Rating: *** 1/2

In the 1999 album Supernatural, rock band Santana collaborated with different artistes with varying styles. Its success prompted frontman Carlos Santana to repeat the formula on subsequent releases Shaman, All That I Am and Blessings And Miracles.

The new Santana album Sentient has its share of collabs too, but this time many songs have been dug out from the vaults. There are tunes recorded with pop legend Michael Jackson and jazz great Miles Davis, who are both no more. There are songs recorded with rhythm n' blues star Smokey Robinson and fresh takes on earlier pieces. And there are also remade versions of Santana's own tunes.

The songs are compiled in a way that the listener gets to experience Carlos Santana's quintessential guitarwork consistently. The Mexico-born American guitarist is known for his signature style. Though he has tended to sounded repetitive and formula-driven on some later songs, he also produces some intricacies and improvisations that make his playing highly appealing.

The word 'sentient' is related to the senses. By using different genres, and yet keeping the melodic charm intact, Santana touches the senses. He begins with 'Let The Guitar Play', combining with rapper Darryl 'DMC' McDaniels of the hip-hop group Run DMC to talk about how music can end war and bring about peace.

The tributes to Michael Jackson come through two numbers. First up is an instrumental version of the King Of Pop's 'Stranger In Moscow', which Santana recorded from a club gig with drummer Narada Michael Walden and his band. The song blends the MJ melody, heard on the HIStory album, with guitar wizardry. Then comes 'Whatever Happens', from Jackson's 2001 album Invincible. "Whatever happens, don't let go of my hand", Jackson sings in this underrated number that makes one brim with nostalgia.

A highlight is 'Please Don't Take Your Love', which though recorded in 2009, has a very 1980s sound. The interaction between voice and guitar through intricate phrases and tight rhythms is amazing, before one hears an unbelievable guitar solo.

Italian pianist and arranger Paulo Rustichelli appears on four tunes, with two ('Get On' and 'Rastafario', from the 1996 album Mystic Man) featuring Miles Davis's trumpet. The album was released much after Davis's passing. On 'Vers le Soleli', the keyboards and synthesisers blend beautifully, whereas 'Full Moon' is a trademark Santana instrumental.

Santana's wife, drummer Cindy Blackman, and bassist Matt Garrison get together on the previously-unreleased 'Coherence', which features some sizzling guitarwork. Two songs from earlier Santana albums - 'I'll Be Waiting' from Moonflower and the Blues For Salvador title track - complete the set. Though they both are good in their own right, they seem more like fillers here.

Though the album has multiple producers and traverses genres as varied as Latin-rock, pop, jazz and hip-hop, there's an overall smoothness in sound. Though some songs were recorded or composed years ago,  Carlos Santana touches fans in a rather sentient way.

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