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| Carlos Santana - image by Erik Kabik |
Roy Abrams: Congratulations
on receiving the American
Book Award for The Universal Tone!
It’s very apparent that the memoir has struck a universal chord with readers.
What was the writing process like for you?
Carlos Santana: Thank you
for asking! For me, I was very diligent about taking the high road and speaking
about things that I felt were inspiring and healing and hopefully people can
identify with seeking light constantly no matter what gets in front of you. (I
also wanted to honor) those like Bill Graham and, of course, Clive Davis, Tito
Puente, and all those who have played an incredible role in teaching me, in
opening doors for me in teaching me how to maintain a very, very high standard.
RA: I’m a quarter of the
way through the book now, but have to say that even at this point, I am
mightily impressed by its honesty, but even more so by the spirituality in
evidence throughout the pages. In the introduction, you say that you realize
that you’re not alone, that you’re connected to everyone, which struck me as
the equivalent of John Lennon’s famous line, “I am he as you are he as you are
me and we are all together.” Another statement you make about locating the
source of your spiritual goal reflects George Harrison’s “The Inner Light,” where you say, “It is
always right here, in the here and now, in my spirit and music and intentions
and energy.” To many, this realization is the key to humanity’s ultimate
survival. How do you view today’s society in the light of what appears to be a collective
waning of spirituality, and what would you offer as a remedy?
CS: I think that the
healing and remedy is to invite people to actually claim, accept, and own that
we are beings of light, and to manifest love. A lot of people I know get really
upset because it doesn’t mesh with the misery philosophy of wretched sinner
(with its accompanying) guilt and fear; the chains that bind you to Hell, quite
literally. I don’t accept that God would create a concept like that. I think
that the concept came from a twisted, crooked mind, you know, and so in that
sense a lot of Fundamental Christians would be really upset, because they have
to have a sacrifice all the time. But my God doesn’t need sacrifice, never
requires sacrifice, he doesn’t require man’s time, because for God, it’s the
eternity now. So what I would have to offer to humanity is an invitation to
look in the mirror and constantly repeat, “I agree with myself. I accept
myself. I love myself. Therefore, I am worthy of all the blessings and miracles
and grace. I am a beam of light, and therefore I can create miracles and
blessings.” It’s not just the Pope who can do that.
RA: Your definition of The
Universal Tone is “the music inside the music” where “ego disappears and energy
takes over.” Was your acceptance of being a conduit of The Universal Tone
gradual in nature, or was it the result of a singular epiphany?
CS: There were many, many
epiphanies. For me, it all started with my mother and my father, watching them
ascend constantly beyond what they knew or what they had. As I said in the
book, my mother and dad didn’t have any formal education; yet they (taught us
the importance of) integrity, being kindly, and being hard workers. Some people
go to the best universities, but they’re not necessarily nice people. They’re
kind of clever fools. My Mom wouldn’t have that. I think it started with mother
and my father, for me. They set the tone for what I would be thirsty for later
on, with them and without them in my own navigating through this life.
RA: This is the Corazon
tour’s second year, and the response has been overwhelmingly positive. Are
there any spots that you’ve visited so far where the response has been
surprising even for you?
CS: No, it’s all been
equal and the same, from Mexico to Africa. People claim the songs no matter
where they are in the world.
RA: You have amassed a considerable list of musical collaborators over the decades. Are there others who are on your “bucket list”?
CS: Yes, of course! Right
now, the closest one is Ronald Isley
from the Isley Brothers. Somewhere in the future I would like to collaborate
with Andrea Bocelli, Lady Gaga and Kirk Hammett (from
Metallica). It would be nice to do something with Sting and Prince; however it
would have to be mutual consent of song. To me, life is a big Rolodex and a big
portfolio. It’s not being stuck on one page.
RA: I had the pleasure of
speaking with Gregg Rolie years ago
when he released a solo album, and remember hearing his admiration for you and
the rest of the Santana band. I understand that the original members of Santana
have gotten back together and there is an album (Santana IV) that has recently been completed?
CS: Yes, we’re going to
finish mixing it in September, possibly October.
RA: Are you planning on taking
it on the road?
CS: We’re in the process
of crystallizing that.
RA: New York City, for so many musicians, holds a
special place due to its incredible cultural diversity. It probably contains in
its population representatives of all the countries that you’ve performed in
thus far. What’s your relationship been like with New York City and what would
you like to say to your New York fans?
CS: I just want to say
thank you so much, for wanting to share with us since 1969, when we came to the
Fillmore East—I think we played (our first show) with Sha-Na-Na, Canned Heat,
and Three Dog Night. Nobody knew who the hell Santana was, and then we played
with PG&E and Buddy Miles. Ever since I can remember, coming to New York
and hanging out in Harlem and seeing Tito Puente, there’s quite the school or
university of learning how to reach new levels of intensity with energy!
AUTHOR’S NOTE: LOOK FOR AN
EXTENSIVE INTERVIEW WITH CARLOS SANTANA IN A FUTURE ISSUE OF LONG ISLAND
PULSE!
Other must-see concerts in August include:
JOE BONAMASSA:
3 KINGS TOUR
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| Joe Bonamassa - image by Rhonda Pierce |
GRAHAM NASH:
AN EVENING WITH
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| Graham Nash - image by Eleanor Stills |
Back in May, Graham Nash
and I had a lengthy
conversation which explored his 50-year career, up to and including his
current solo tour, which features material culled from the artist’s diverse
musical collaborations, including The Hollies, CSN(Y), and brand-new songs
co-written with guitarist Shane Fontayne, who is accompanying Nash for these
intimate shows. Don’t miss the tour when it comes to the Paramount Theatre
in Huntington on August 12th.
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