Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

Album: Santana - Blessings and Miracles

Latin Jazz pioneer hampered by a surfeit of brilliant guests

share this article

'This is an album that’s unfortunately a little short on soul'

Some guitar sounds are instantly recognisable. Carlos Santana blazed a trail in the late 1960s, with incandescent licks that made him world famous. He has traded on that brand – as brand it inevitably is – for more than half a century.

He is in a way a prisoner of those trademark heart-warming, dream-provoking guitar flourishes, and yet he has also experimented and collaborated as few others of his generation. But paradoxically, this restless urge to work with many different people, and explore different genres has been his undoing. This new album starts with a “Santana Celebration”, complete with swirling Hammond B organ notes, and the timbales and congas that characterised the Latin Rock which he so excitingly pioneered. Irresistible stuff – though nothing new. The track is followed by an almost unbelievable series of guest spots with stars that range from Steve Winwood, on a surprisingly underwhelming cover of Procol Harum’s “A Whiter Shade of Pale”, and white rapper G-Eazy, to vocal stars such as Rob Thomas and Chris Stapleton.

There is certainly something for everyone here, and much to enjoy. There is a great deal of variety, and plenty of welcome changes of mood: from slow ballads to the fury of “Peace Power” that features Corey Glover of Living Colour in fine form. It’s all super-smoothly produced and performed by musicians. and singers at the top of their game, including two of Carlos’s very talented children, pianist Salvador and vocalist Stella. Kirk Hammett does his heavy metal thing superbly, and Ally Brooke delivers a silky ballad with great feeling, with sultry obligato from the great man. And yet, as with Supernatural (1999), Santana’s multi-million dollar world-wide success, there is a lack of personal signature or artistic coherence, not beyond the near-perfection of the guitarist's undeniable instrumental skill. Beyond a certain kind of excellence, this is an album that’s unfortunately a little short on soul, as if everything had been done very well but without the genuine risk-taking that characterises the best music. 

He is in a way a prisoner of those trademark heart-warming, dream provoking guitar flourishes

rating

3

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

A subtle, potent raging against the dying of the light from a low key great
The US singer-songwriter offsets glacial shimmer with a dive into electric-guitar freakiness
The genre-crossing musician brings a New Age sheen to his solo piano tribute
The London trio add toilet bowls and ugly crying to the hedonistic glamour
New York band’s blend of folk rock and psychedelia grabs attention
Northern indie four-piece offer a vim-laden snapshot of disenfranchised Britain
Ladysmith Black Mambazo and Laura Mvula shine
Garage, French House and feeling collide in latest release
A creative, inclusive, endlessly imaginative festival for families
Prolific Aussie psychedelicists marry dance and prog sounds