A Q & A with Jorge Santana, one of the architects and founding fathers of Latin Rock music
First Person:
By Al Carlos Hernandez
Jorge Santana is credited as one of the architects and founding fathers of Latin Rock music. He and the band Malo back in the day married Latin rhythms, intricate horn arrangements with screaming blues based guitars which created a unique and rocking sound that has endured the test of time. Malo’s greatest Hit was Suavecito a cultural anthem for several retro cool generations. Jorge traditionally is not a public person, he is content to stay in the shadows happy to be a part of an engine that drives the larger machine. Jorge is the youngest of the three brothers and the second after Carlos to pick up the guitar. Being a part of a musical family and having his ear constantly exposed to music was a definite influence, and Jorge was inspired by the musical activity in the household. However, Jorge hadn’t had formal music instruction when he started playing the guitar at age 14 in San Francisco. At first, Jorge was drawn to the sounds and rhythms of the blues and Carlos’ interpretations of that style of music. In fact, he credits Carlos for introducing him to a wide range of music, musical styles, personalities and experiences.
By the late 60’s and while still in high school, Jorge was playing with a four piece blues band in local San Francisco clubs. He was asked to join a band called THE MALIBUS’S, a nine-piece R & B group with horns. After a steady club gig which helped the band refine their sound, they changed their name to MALO. And, as part of the active scene in San Francisco in the early 70’s, the band was signed by Warner Brothers.
That period led to his first solo project for Tomato Records. Titled “Jorge Santana,” the album featured his own songs and arrangements. It was produced by Tony Bongiovi of the Power Station in New York and mixed by Bob Clearmountain. The album was well-produced and had a good selection of songs – all in all, a very commercial album.
That album was followed by “It’s All About Love”, which was produced by Allen Tous-saint. His involvement with the two albums kept Jorge busy until 1982, but lacking a good agent and proper management, he decided to take a year’s vacation. But, the year hadn’t passed before he ended up getting married and moving to Walnut Creek, where he and his wife started a family.
I interviewed Jorge back in the 70’s while Malo was all over the charts and I was a talk show host at KFRC in San Francisco. We recently had a chance to catch up and look back and talk with the reclusive Jorge, who at times has lived in the shadows.
Q: At what age did you come to San Franciso, did you experience culture shock?
A: I was 12 years old in January 1962 when I arrived in San Francisco. My dad Jose Santana came to visit our family in Tijuana Mexico from San Francisco where he lived and worked. After his visit I returned with my Dad to San Francisco not knowing I was leaving Tijuana forever. That day I left behind everything a 12 year old boy experienced growing up in Mexico. Since, all I have are memories of all my friends, school, neighborhood and Tijuana itself where I remember walking the streets everywhere. My mother Josefina Santana, brothers Antonio & Carlos, and sisters Laura, Irma, Lety & Maria arrived in San Francisco about six months later. It was my mother’s dream and determination that brought us all to San Francisco, I have no regrets.
Q: Your Dad was a Maria-chi, did his music or the music of the household affect your musical muse?
A: Yes I was influenced by my father’s playing. When we arrived in San Francisco the two of us lived upstairs from the night club where he worked. There, for the first time most every night I heard him play and sing with his band. I will always remember my father’s sensitivity when he played his violin. He had a natural ability to entertain you and make you feel the song he was playing.
Q: Did you always want to be a musician?
A: Being a musician was not my first desire. Because my father and Carlos played guitar, I learned from them basic chords. Then, as time when by, Carlos turned me on to one recording entitled “John Mayall and the blues Breakers,” featuring Eric Clapton and Peter Green, followed by “Cream.” Well, I was captured by the guitarist’s performance and the sound of their guitars. I continued playing the guitar but with more interest and appreciation of what I could get out of it.
Q: What was the exact experience when you realized that music was the career you wanted to pursue?
A: My decision to commit to a career in music happened in 1973 when I was in San Francisco recording Malo’s last album for Warner Bros. “Ascencion” is the title of the last studio recording the original Malo band recorded, it was considered “musically ahead of its time.” While the band was in the studio laying down the basic last track entitled “No Matter” we stopped on the first take due to technical problems. Then, on the second take we were able to lay down the entire song, arrangement and guitar solo. After hearing a portion of the play back I walked-out the studio telling the musicians that it was not happening and that music was not my thing. Shortly after, the musicians and engineers asked me to come in and listen to the recording once more time.
Then it happened, I heard the playback, and for the first time, I felt my performance, execution, emotion and tone of the guitar… I had never heard or felt that way before. I was totally against it at first and willing to leave the music behind, because I did not remember anything I did or what happened while I was recording that song. Since then, that feeling I experienced, has become my reason for playing the guitar.
Q: What were the Malo days like, greatest success, greatest failure, I’m told that the manager ripped everybody off, is that true?
A: The fans made Malo popular after our song Sua-vecito played on the radio. Malo’s ten piece big band sound was a groove to listen too. It had the percussion, horn section, great up tempo tunes, and we where Latinos from the San Francisco Mission district. Everywhere we performed our popularity grew. It was three years of recording, traveling, partying, and enjoying success. Unfortunately, the band did not follow up with more radio hit songs, the costs of a large band and a traveling crew made it almost impossible to stay on the road, plus a constant change of musicians did not help. Fortunately we were not terribly hurt or seriously ripped off.
Q: Occasionally, you used to tour with his band, how and when do you decide to go out, is it like a hobby? I understand you still tour with a new Malo group.
A: In the years I was part of Carlos’ managing team I often went out on tours and played with the band. Carlos had given me an open invitation to sit in with his band, how gracious. The traveling with his band resulted in recording the Brothers CD, Carlos Hernandez our nephew joined us as the third guitarist, a very powerful recording. For years now I’ve been guest appearing with Malo, the band is held together by one of the original members Arcelio Garcia. I really look forward to every event,.. the band has a great great friend of mine and superb guitarist Gabriel Manzo, my Bro!
Check out Jorge on http://www.jorgesantana.com or talk to him on Facebook, http://www.facebook.com/jorge.santana