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.

dreadpirateroberts It's a shame these guys didn't release at least one more record but the single LP they have is still pretty ace.

Once lead singer and composer Bean left Malo he formed a new band to pick up with pretty much the same feel; rock-Latin rhythms mixed with salsa, punchy horns and some great songs. Maybe he's not the greatest singer it doesn't really impact my enjoyment of the songs - especially the charging 'Get it On' or opener 'Been Had.'

'Can't Make It' borrows clearly from the Bean's hit with Malo (Suavecito) and 'Nina' is pretty catchy too - overall, if you're into Latin Jazz and want something like Malo but still with a few subtle differences, have a look at Sapo.

siLLy puPPy Nothing screams the summer of 69 and the Woodstock event for me more than SANTANA. One day they were simply the Carlos Santana Band doing small gig venues in San Francisco and the next day after performing at that event they were watching their debut album racing up the charts and reaching number 4 on Billboard. “Evil Ways” also proved to be a huge top 10 hit as well. This rags to riches story may have happened anyway but perhaps not so fast. Their slot on the Woodstock event was actually won by the flip of a coin. Michael Lang, the concert promoter was pressured by Bill Graham to include one of the the acts that Bill managed. It was down to SANTANA and It's A Beautiful Day, another San Francisco band. The coin was flipped, SANTANA won, and enjoyed instant popularity and as we all know, much more was to come.

This is gorgeous album from beginning to end. SANTANA started out as a jam band but was advised to write a few more structured songs by Graham. The result is a perfect mix of free jam energy with structured songwriting that the band perfectly performs knowing when enough is enough and to move on to something else. This new Latin jazz fusion of the day took the world by storm and with half of the band dedicated to percussive instruments it's no wonder the world was mesmerized by this energetic mix of Latin jazz, Afro-Cuban rhythms and heavy psych blues that tied it all to the era. This is one of those album I never tire of. It has a timeless quality to it yet it always brings me to that time and place before my time. My personal favorite SANTANA is this one and what a beauty it is.