Santana IV

Carlos Santana - Guitar & Vocals

Neal Schon Guitar & Vocals
Gregg Rolie Hammond B3, Keyboards & Lead Vocals
Michael Shrieve Drums
Michael Carabello Congas, PERCUSSION & Background Vocals
Karl Perazzo Timbales, Percussion & Vocals
Benny Rietveld Bass
david k. mathews keyboards
RONALD ISLEY SPECIAL GUEST
Ronald Isley appears courtesy of R.I Top Ten Records
www.evosound.com
EVOB262

Celebrity band reunions are hardly an uncommon event these

days. Scarcely a year goes by without an announcement that Band X, a
group that enjoyed considerable success in the 1990s or even more
recently, has decided to reunite for that one final tour-drum roll,
please. In most instances these are bands that had their runs over a
period of years and when things started to go downhill, i.e.
plummeting recording sales, diminishing show attendance, they
broke up, content to live on and off their laurels and in many cases to
set off for greener pastures.
Santana IV is nowhere similar to this pattern and to a large
degree, therein lies the secret of their phoenix-like
re-emergence and success. Unlike those other bands that quit after the
well had run dry, the Santana Band of 1971 broke up at the height of
its popularity and its creative powers. If anything, their well was
overflowing. Their last album, Santana III, was another million
seller, yielding such memorable singles as No One To Depend On,
Batuka, and Toussaint LOuverture, and they were still riding the
popular wake of their brilliant and unforgettable appearance at the
1969 Woodstock Concert. This young band had nowhere to go but
up. Or so they and everyone else thought.
And then all of a sudden it was gone. What happened? Life
happened. When you go from being a relative unknown, a band
without a recording, and just a local Bay Area favorite, to a familiar
household name famous all over the world, seemingly overnight,
fame, fortune, and a new kind of life happens, one that a bunch of
young guys still discovering their music and still discovering
themselves were simply ill- equipped to handle. Add to this the fact
that there were genuine disagreements about which musical direction
the band should follow, more of the same or a new more jazzinfluenced approach, and in short order the differences of opinion
became conflicts that grew into an irreparable discord. Viewed from
the comfortable distance of today, some four and a half decades
later, its difficult to assess a right and a wrong for more likely there
was neither. It
was all about a bunch of young, prosperous, and talented musicians
determined to play the music they loved, even
if this meant breaking away from one of the most popular and
innovative bands in the world at that time.
After only a few years of existence, Santana split in 1971 with
Neal Schon and Gregg Rolie going on to form Journey, one of the most
successful and memorable bands ever, while Carlos, Michael Shrieve,
and percussionist Jose Chepito Areas forged a new Santana whose
new direction now reflected their mutual interest in jazz and African
music. Michael Carabello went on to a multitude of session work
and musical projects with various musicians including, The Rolling
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Stones Tattoo You, Jimi Hendrix, Gabor Szabo, Boz Scaggs, Neal
Schon & Eric Clapton.
And so, they went their separate ways. During the long expanse of
their separation, there were occasional get togethers and these served
as tantalizing reminders of what they had been. The magic, the
chemistry, was always there. In 1988 Carlos invited Gregg Rolie and
Michael Shrieve to join his Santana Band on a U.S. tour.
Throughout the separation Carlos and Carabello, friends since high
school, maintained contact.
In 1998, the original Santana Band-i.e. Gregg Rolie, Jose
Chepito Areas, Michael Carabello, David Brown, and Michael
Shrieve, were inducted into the Rock and Roll Hall of fame.
Undoubtedly, this occasion fueled considerable hope and speculation
that perhaps something more would be heard from Santana. 1999
was a watershed year for Carlos and Santana with the release of
Supernatural, a CD that would go on to garner innumerable
awards and worldwide record sales exceeding twenty-seven million.
Any further thought of a possible Santana reunion was lost in the
din of the Supernatural phenomenon.
On occasion Michael Shrieve, not only a brilliant drummer, but
also a very gifted songwriter, would send songs to Carlos. One of them,
Aye Aye Aye[a collaboration with Carlos, Karl Perazzo, and Raul
Rekow] became a staple in the bands repertoire for a couple of years
and was included in the Santana Shaman CD. Whenever their paths
crossed, Carlos would invite his former band mates to sit in with
Santana. So, the survivors of Santana III were very much aware of
each other, but there was never any serious attempt at a formal
reunion. (Original Bassist, David Brown was deceased and
percussionist Jose Chepito Areas was intermittently on and off the
musical scene.)
But, finally in 2014 there were rumblings, there were signs that
maybe something would be heard from the Santana Band of yesteryear.
Why did it take so long? How do we explain the 45-year gap between
Santana III and Santana IV? Perhaps the aphorism time heals all
wounds has a place here but maybe conguero Michael Carabello
said it best recently when he explained: Ive always had a sense of
hope that we would come together and finish what we started as
young artists, as a tribe. Why so long? Well, because every one of us
had to be in a place of wisdom and forgiveness.
Sometimes when relationships break up, the years apart take
their toll. Its not that the old bad feelings still rub the wrong way; its
more like time just creates a new barrier to reconciliation. It takes
some special thing or some special someone to say, Enough! Lets find
a way through this haze so that we can rediscover what we once had.
In the case of Santana IV, that special someone was Neal Schon,

who joined the band in 1971 just in time to record Santana III. It was
Neal who was the instigator, the catalyst, the guy who brought
everyone together and the individual most responsible for the
reunion of the Santana III band. Neal, who had been a teenage
guitar prodigy, when Santana invited him to join them, never forgot or
got over that feeling of being a part of Santana and playing with his
heroes who had become his peers. And that special thrill of sharing the
front line with Carlos was unlike anything hed experienced since. Like
Carabello, he wanted to see the band finish what they had started. So
it was Neal who began calling around to gauge each guys interest
and willingness to commit to this long-deferred undertaking. He
started nudging Carlos, fortuitously popping up and running into
him in the park, in the store, wherever. At first Carlos agreed to
collaboration with Neal and when Neal suggested that it was time to
do this next project with the Santana III guys, Carlos agreed. Neal
repeated the process with the others and soon Rolie, Carabello and
Shrieve were all on board.
Present-day Santana members, bassist Benny Rietveld,
percussionist Karl Perazzo, and voila! Santana IV was ready to finish
what they had started decades before. For the live performance, current
Santana keyboardist David K. Mathews augmented this musical
powerhouse.
Perhaps words will never do justice to explaining what musical
chemistry is, but suffice it to say, that when these guys reconvened in a
Las Vegas recording studio for the first time in forty-five years, it was as
if they had played the week before. That spark, that dynamism, that
indefinable essence, that was and is Santana, was there in all its glory,
front and center. Undiminished and just as vibrant as ever, Santana
emerged, once again, almost like some sci-fi film primordial creature
trapped in ice for millions of years that somehow comes to life ready
to wreak unspeakable havoc on an unsuspecting world. Only this
time the creature was Santana IV and its purpose was and is to bring
more joy, excitement, and musical mayhem to a world that has
missed them greatly.
Not even the players themselves can adequately explain just how
everything came together so readily, so easily, and so delightfully. Most of
the new music came from various band collaborations. Gregg composed
and sang on Anywhere You Want To Go, destined to become another
Santana classic, and Carlos & Benny composed Sueos[dreams], a
ballad masterpiece very much in the spirit of Samba Pa Ti and
Europa.
In adding, conguero/timbalero/bongero/vocalist Karl Perazzo
to the band, Santana IV can boast of having a percussionist of
worldwide acclaim, a master musician who is a twenty-five year
veteran with Santana and an artist of incalculable creativity. Bassist

Benny Rietveld functions as the musical director of the Santana

Band and has that rare ability to add something special to any piece
of music he encounters. As a former bassist with Miles Davis, Benny
comes to Santana IV with impeccable credentials. The third addition
to Santana IV, keyboardist David K. Mathews is another key member
of Santana, a soloist and accompanist of the first order, and a former
veteran of the Etta James Band.
When Carlos brought in two new tunes, Freedom In Your
Mind and Loves Makes The World Go Round, he proposed
bringing in Ronald Isley of the Isley Brothers to sing lead. The only
question in the bands minds was can we really get Ronald Isley to
sing with us? Carlos made the call and presto! Ronald Isley became
part of the Santana IV lineup for the recording and the Las Vegas
performance at the House of Blues in Mandalay Bay Resort and
Casino.
When Santana IV took the stage for the recording of this concert
on March 21st 2016, they came prepared to introduce new Santana IV
originals as well as songs from their repertoire in and around 1971.
They came with that same mix of rock, blues, jazz, and African music
and to all this they added the joy of being back together. The Blu-ray
captures and presents a music that was palpably alive, daring,
sensuous, and bold. It is unapologetic music, music that is even heroic
because it makes no excuses or concessions. Its as if they were saying:
Pardon the interruption. We are Santana IV! ----Hal Miller
Albany, N.Y. July 2016

For information about Santana please visit our website:

www.santana.com facebook.com/carlossantana
Fan Club: fanclub.santana.com
Santana Merchandise: santana.hifi247.com
or write to us at: 2375 E. Tropicana Ave. Suite 8 #270
Las Vegas, NV 89119
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Filmed on location at House of Blues

at Mandalay Bay Resort and Casino,
Las Vegas, NV - March 21st 2016

Universal Tone Management/Santana: MICHAEL VRIONIS,

MARIA VRIONIS, ADAM FELLS, MICKI ALBOFF, STEVEN VRIONIS,
CHAD WILSON, CHRIS STUBBY MCNAIR
SANTANA TOURING PERSONNEL
Tour Director: PAUL SKIP RICKERT
Production Manager: MICHAEL KEIFER
Personal Assistant: CHAD WILSON
Road Manager: LIBBY FABRO
Carlos Santana Guitar Technician: EDWIN ADAIR
Stage Technician: STUBBY MCNAIR
Keyboard Technician: MIKE MCGOWAN
Percussion Technician: CHAD TASKY
Bass Technician: JASON KENDALL
Neal Schon Guitar Technician: BOBBY SCHNECK
Drum Technician: JEFF OCHELTREE
Conga Technician: TONY RADOGNA
Monitor Engineer: BRIAN MONTGOMERY
FOH Engineer: ROB MAILMAN
Audio Technician: MATT ANDERSON, ANTHONY SILIPIGON
Video Designer/Director: BOB HIGGINS
Tour Assistant: SEAN GUTHRIE
THANKS
Ziffren, Brittenham, Branca & Fischer: JOHN BRANCA,
MITCH TENZER, ALICIA WINFIELD SYDNEY
Santana Public Relations Management: Jensen Communications:
MICHAEL JENSEN, ERIN COOK, RYAN ROMENESKO
Creative Artists Agency: RICK ROSKIN, CHRIS DALSTON, ROB LIGHT
Donahue Gallagher Woods LLP: DANIEL J. SCHACHT
Jorstad Incorporated: TIM JORSTAD, CPA
Wixen Music Publishing, Inc: RANDALL WIXEN, STEPHANIE DAVID
Tzell Travel Group: RUTH FRIEDMAN, LISA NOVIK
Julia Coltharp Business Services: JULIA COLTHARP, NIKI POLI
Sound Company - Sound Image: DAVE SHADONE
House Of Blues, Las Vegas: TIM JORGENSEN, PAUL MCGUIGAN, TRENT
CLAUSEN, LOLA ROSE, HOWARD BEVERSTEIN, ALISSA KELLY
SPECIAL THANKS: CHUCK BOWLING, PAUL DAVIS
Trucking: FRANK FORSTH
Line Producer: DENI GRAAP
Associate Director: JIM FAGAN
Associate Producer: KRISTY GESLAIN
Post Production Supervisor: BRAD FUSS
Senior Editor: ASHLEY MAAS
Editor: IRIS WALL
Technical Manager: GARY SHINN
Stage Manager: SHARON SINGER

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Technical Director: WLADYMR JEAN-MARY

Engineer In Charge: STEVEN ELLIS
Audio Engineer: JIM REITZEL
Audio Assist: JOSH CONWAY, TONY KREMER
Lighting Director: MICHAEL LEDESMA, JOHN MAROVICH
Video: CHRIS OBRIEN
Camera: MARCIE COLLINS, RANDY FARROW, SAM GRACE,
DAVE MCATEER, SCOTT MCLAIN, DAN, MCNERNEY,
JEREMY SETTLES, IVAN RODRIGUEZ
Jib Operator: PAT KERBY
Jib Assist: ANTHONY BOTZ
Dolly Operator: DARRYL NELSON
Dolly Assist: JEFF MILESKY
Video Capture: STAN KIDD
Teleprompter: JAMES MOORE
Utility: BRAD BANDA, DREW DANKERS, SEAN MCLEAN
Production Support: ALEC COLE, MATT EGGERT, ALEX GRAAP,
SCOTT JACOB
Mobile Facilities Provided by TOURING VIDEO
Post Production Facilities Provided by
BRIGHTON ENTERTAINMENT, NYC
Northstar Media: PAT MCDONALD, ELIZABETH RUTHLEDGE
Produced by FRONT AND CENTER AND IRIDIUM IN ASSOCIATION WITH
BRIGHTON ENTERTAINMENT.
Directed By: BRAD FUSS
Producers: BRAD FUSS, CHRISTINE DAVIES REAGAN,
ADAM FELLS, PAUL SKIP RICKERT, MICHAEL JENSEN
Audio Recorded, Mixed & Mastered by JIM REITZEL
Assisted by BENNY RIETVELD, MICHAEL SHRIEVE
Mixed & Mastered at TARPAN STUDIOS, SAN RAFAEL, CA
Executive Producers: CARLOS SANTANA, MICHAEL VRIONIS,
DON MAGGI
Executive Producers for Front and Center:
DENIS GALLAGHER, KEN STURM, RON STURM
All photgraphs: ERIK KABIK / erikkabik.com
Cover art:
Design by: RICHARD NELSON, HEATHER GRIFFIN
Organization and Motivation: DAWN DEBISSCHOP
Booklet design: JAMES McALLISTER, CRT EVANS
For Eagle Rock Entertainment
Legal and Clearances: JASON FINESTONE, REBECCA BRADSHAW,
CHARLOTTE GODFREY
Production Co-ordinators: SAM ATKINSON, MARK FOSSITT
Production Managers: CLAIRE HIGGINS, ROSIE HOLLEY
Supervising Producers: ROB GILL, MATT FRIEDMAN
Executive Producers: GEOFF KEMPIN, TERRY SHAND

SOUL SACRIFICE
Gregg Rolie / Carlos Santana / David Brown /
Marcus Malone
Universal Music (BMI)
JINGO
Michael Olatunji
EMI Blackwood Music Inc (BMI)
EVIL WAYS
Clarence Henry
Richcar Music Corp. (BMI) / Universal Polygram (BMI)
EVERYBODYS EVERYTHING
Gregg Rolie / Carlos Santana / Michael Shrieve /
Tyrone Moss / Milton Brown
Universal Music (BMI) / Dandelion Music Co. (BMI)
SHAKE IT
Michael Carabello / Karl Perazzo / Gregg Rolie / Neal Schon
Kingshy Music (BMI) / Mas Timbal Music (BMI) /
Gregg Rolie Music (BMI) / Rock Dog Music (GMR)
ANYWHERE YOU WANT TO GO
Gregg Rolie
Gregg Rolie Music (BMI)

CAMINDANDO
Michael Carabello / Karl Perazzo / Carlos Santana /
Neal Schon
Kingshy Music (BMI) / Mas Timbal Music (BMI) / Stellabella
Music (BMI) / Rock Dog Music (GMR)
BLUES MAGIC
Gregg Rolie / Carlos Santana / Neal Schon
Gregg Rolie Music (BMI / Stellabella Music (BMI) /
Rock Dog Music (GMR )
ECHIZO
Neal Schon / Michael Shrieve
Rock Dog Music (GMR) / Maitreya Music (BMI)
COME AS YOU ARE
Michael Carabello / Karl Perazzo / Gregg Rolie /
Carlos Santana / Neal Schon
Kingshy Music (BMI) / Mas Timbal Music (BMI) /
Gregg Rolie Music (BMI) / Stellabella Music (BMI) /
Rock Dog Music (GMR)
YAMBU
Karl Perazzo / Carlos Santana
Mas Timbal Music (BMI) / Stellabella Music (BMI)
BLACK MAGIC WOMAN
Peter Green
Murbo Music Publishing Inc (BMI)

CHOO CHOO
Michael Carabello / Igor Len / Gregg Rolie / Carlos Santana /
Neal Schon
Kingshy Music (BMI) / Igor Len Publishing (BMI) /
Gregg Rolie Music (BMI) / Stellabella Music (BMI) /
Rock Dog Music (GMR)

GYPSY QUEEN
Gabor Szabo
Gabor And Cardigan Music Publ. - Wixen Music Publ. Inc. (BMI)

ALL ABOARD
Carlos Santana
Stellabella Music (BMI)

THIRD STONE FROM THE SUN

J. Hendrix
Experience Hendrix LLC (ASCAP)

SAMBA PA TI
Carlos Santana
Universal Music (BMI)

OYE COMO VA
Tito Puente
EMI Full Keel Music - Sony/ATV Music Publ. (ASCAP)

BATUKA
Gregg Rolie / Carlos Santana / David Brown /
Michael Shrieve /
Michael Carabello / Jose Areas
Universal Music (BMI)

I FEEL THE EARTH MOVE

Carole King
Colgems-EMI Music Inc. (ASCAP)

NO ONE TO DEPEND ON
Coke Escovedo / Michael Carabello / Gregg Rolie
Love Pirate Music - Have We Got Music For You (BMI) /
Universal Music (BMI)
LEAVE ME ALONE
Carlos Santana / Michael Shrieve / Gregg Rolie
Stellabella Music (BMI) / Maitreya Music (BMI) /
Gregg Rolie Music (BMI)
SUEOS
Carlos Santana / Benny Rietveld
Stellabella Music (BMI), Glacierboy Music (BMI)

LOVE MAKES THE WORLD GO ROUND

Thierry Fournel / Nuru Kane / Carlos Santana
Riverboat UK Music (MCPS) / Stellabella Music (BMI)
FREEDOM IN YOUR MIND
Ken Okulolo / Carlos Santana
Opiri Music (BMI) / Stellabella Music (BMI)
TOUSSAINT LOUVERTURE
Gregg Rolie / Carlos Santana / David Brown /
Michael Shrieve / Michael Carabello / Jose Areas
Universal Music (BMI)
2016 SANTANA IV, LLC

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The Milagro Foundation is a publicly supported

foundation established by Carlos Santana and his family
in 1998. Milagro benefits underserved and vulnerable
children around the world by making grants to
community based tax-exempt organizations that work
with children in the areas of education, health and the
arts. Milagro means miracle. The image of children as
divine miracles of light and hope, even as gifts to our lives,
is

the

meaning

of

the name. With funds generated by concert ticket

donations, Santana licensed products and generous
philanthropic partners and individual donors, Milagro
supports children and youth in the San Francisco Bay
Area, across the United States and in countries around
the world touched by the music of Santana. The
Milagro Foundation is dedicated to making a difference
in the lives of children. We invite you to join us in
educating and serving children throughout the world.
Milagro Foundation,
121 Jordan St. San Rafael, CA 94901
or visit our website at:
www.milagrofoundation.org
Milagro Foundation:
Shelley Brown Ruthie Moutafian

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