3/1/2024 0 Comments Ottmar liebert samba pa ti![]() We would perform for about 40′, then Santana would take to the stage to a song by Miles Davis (perhaps from the album doo-bop?) and play for half an hour. Luna Negra was a quartet at the time, with Jon, of course, Carl Coletti (drums) and Ron Wagner (tablas + dumbek). In 1996 Santana asked me to open for their US tour. ![]() The latter is a truly amazing solo I have listened to countless times! In addition to the solo on Samba Pa Ti Carlos also played on my composition Reaching Out 2 U. A few weeks later I drove to the Bay Area to record Carlos, who wanted to work in a recording studio in Sausalito that he was familiar with and with an engineer he knew. Introductions were made and Carlos agreed to play the solo. At the time Santana was under contract at Columbia Records and both Epic and Columbia were under the umbrella of Sony Music. I wanted to record Santana’s Samba Pa Ti and talked to my product manager at Epic, Al Masocco, about how I could ask Carlos to play guitar on the song. I received Lotus as a gift and wore out those LPs! I learned several of the melodies by ear, among them, of course, Samba Pa Ti!įast forward to 1991: we are in the studio recording our first album for Epic Records, to be called Solo Para Ti. That evening may very well be responsible for me becoming a musician. He started glowing and when he played he threw his head back and magic happened. He took a solo and after his solo we noticed a shift in Carlos’ presence. They were very good, of course, but we were under the Earth, Wind & Fire SPELL! Toward the end of Santana’s customarily long set, several E,W & F musicians came back onto the stage, among them the guitarist. After the third encore all of the hall lights went on to calm down the audience. Never again have I seen an opening act get three encores. Most of the band was using wireless technology (in 1975!!!) and frequently the whole band, except for the drummers, ran around the stage… exiting on one side, running behind the stage and reappearing on the other side. Then the lights went out and in the complete darkness a booming voice incanted “Earth, Wind and Fire” and when he chanted the last word two columns of fire rose from the dark stage… then the music began. ![]() I knew nothing about Santana’s opening act. Like many stars of the day he had chartered a plane, which was depicted in the booklet for the triple-LP Lotus, recorded live in Japan in 1974. We went to see Santana who was on a monster tour around the world. This was my very first concert and I was very excited. It is also one of the tracks featured in Nick Hornby's book, Songbook.On this day in 1975 I went to a concert with my friends. Japanese guitarist Masayoshi Takanaka would cover the song on his 1978 release, "On Guitar." It was later covered by José Feliciano with added lyrics on his 1982 album Escenas de Amor, by Ottmar Liebert on his 1992 album Solo para ii, by Gato Barbieri on the Fania All Stars 1981 album Social Change, and also by Angélique Kidjo, who put lyrics in Yoruba on her album Õÿö. In 1974 the song was covered by Bruno Battisti D'Amario and Edda Dell'Orso for the album Samba para ti. "Samba Pa Ti" is one of the group's most popular and acclaimed songs, and it is still in the band's tour set lists. He couldn’t make up his mind which one to put in his mouth first, the saxophone or the bottle and I immediately heard a song"."I wrote the whole thing right there"-Carlos Santana And I kept looking at him because he kept struggling with himself. ""Samba Pa Ti" was conceived in New York City on a Sunday afternoon,"."I opened the window I saw this man in the street, he was drunk and he had a saxophone and a bottle of booze in his back pocket. In 2008, Santana told Mojo that "Samba Pa Ti" was the first song he felt he could call his own. The song was written by Carlos Santana after he witnessed a jazz saxophonist playing in the street outside his apartment.
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