Following Bill Graham's introduction, Santana kicks it off with a breathtaking version of "Incident At Neshabur" that segues directly into "Black Magic Woman." Similarly, the incendiary coda of "Gypsy Queen" then transforms into a brief "Let The Children Play." This opening medley is very exciting and full of fiery playing from all of the musicians.
They follow up with "Toussaint L'Overture," an intense Latin flavored number featuring brilliant guitar playing from Carlos and the percussion sounds reminiscent of the dense acid/funk grooves of Agharta/Pangea era Miles…entire summary
Carlos Santana - guitar, percussion, vocals
David Brown - bass
Tom Coster - keyboards, vocals
Leon Patillo - keyboards, vocals
"Ndugu" Leon Chancler - drums
Armando Peraza - congas, vocals
Orestes Vilatos - timbales
Following Bill Graham's introduction, Santana kicks it off with a breathtaking version of "Incident At Neshabur" that segues directly into "Black Magic Woman." Similarly, the incendiary coda of "Gypsy Queen" then transforms into a brief "Let The Children Play." This opening medley is very exciting and full of fiery playing from all of the musicians.
They follow up with "Toussaint L'Overture," an intense Latin flavored number featuring brilliant guitar playing from Carlos and the percussion sounds reminiscent of the dense acid/funk grooves of Agharta/Pangea era Miles Davis.
Following a heartfelt thank you to the audience from Carlos, the percussionists begin the opening sequence to "Soul Sacrifice," the song that established the band's reputation at Woodstock.
Carlos is absolutely incredible, pealing off a searing solo that is spiritual, magical and very intense. This leads into the obligatory percussion sequence for several minutes, before evolving into a characteristically hot, energetic jam featuring more ferocious guitar work from Santana and an excellent keyboard solo from Coster that builds into an explosive ending to their set.
As with any Santana recording from this period, the set is a tour-de-force of explosive ensemble playing; for expressive intensity, few bands come close.
collapse