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Santana: Corazón

 A l b u m   D e t a i l s


Label: RCA/Sony Latin Iberia
Released: 2014.05.06
Time:
 45:19
Category: Latin Rock
Producer(s): Lester Mendez
Rating:
Media type: CD
Web address: www.santana.com
Appears with:
Purchase date: 2014
Price in €: 19,00





 S o n g s ,   T r a c k s


[1] Saideira [Spanish version, feat. Samuel Rosa] (Samuel Rosa, Rodrigo F. Leão) - 3:55
[2] La Flaca [feat. Juanes] (Pau Donés) - 4:11
[3] Mal Bicho [feat. Los Fabulosos Cadillacs] (Flavio Oscar Cianciarulo) - 3:38
[4] Oye 2014 [feat. Pitbull] (Eernest "Tito" Puente, Niles Hollowell-Dhar, Amando Christian Perez) - 3:24
[5] Iron Lion Zion (feat. Ziggy Marley & ChocQuibTown] (Bob Marley) - 4:32
[6] Una Noche en Nápoles [feat. Lila Downs, Niña Pastori & Soledad] (Thomas Mack Lauderdale, China F. Forbes) - 4:30
[7] Besos de Lejos [feat. Gloria Estefan] (C.Santana) - 4:17
[8] Margarita [feat. Romeo Santos] (Romeo Santos) - 4:01
[9] Indy [feat. Miguel] (Miguel Pimentel) - 3:26
[10] Feel It Coming Back [feat. Diego Torres] (Rafael Esparza-Ruiz, Yoel Henríquez) - 4:10
[11] Yo Soy La Luz [feat. Wayne Shorter & Cindy Blackman] (C.Santana) - 4:06
[12] I See Your Face (Bola Sete) - 1:19

 A r t i s t s ,   P e r s o n n e l


Carlos Santana - Lead Guitar on [1-5, 7-12], Twelve-String Guitar & Nylon Guitar on [6], Percussion on [8,10,11], Producer & Mixing on [10,11], Arrangement on [2,4,5,7,10-12]

Vicentico - Vocals on [3]
Javany Javier - Vocal Performance on [4]
Ximena Muñoz - Vocal Performance on [4]
Tommy Anthony - Vocals on [11]
Tony Lindsay - Vocals on [11]
Andy Vargas - Vocals on [11]
Tommy Anthony - Rhythm Guitar on [1,2,4-7,10-11]
Tim Pierce - Rhythm Guitar on [1,2,4,5]
Miguel - Rhythm Guitar on [9]
Benny Rietveld - Bass on [1-2,4-7,10-11]
Flavio Cianciarulo - Bass And Rhythm Guitar on [3]
David K. Mathews - Keyboards on [1-7,10-11]
Zac Rae - Keyboards on [1-5,7]
Mario Siperman - Keyboards on [2]
Lester Mendez - Keyboard Programming on [11]
Dennis Chambers - Drums on [1,2,4,6,7,12]
Fernando Ricciardi - Drums on [3]
Cindy Blackman-Santana - Drums on [11,12]
Josh Connolly - Drum Programming on [3]
Karl Perazzo - Timbales on [1-7,10,12], Percussion on [4,5,7,8,10,12]
Raul Rekow - Congas on [1,2,5,6,12]
Paoli Mijias - Congas on [3,4,7,10,11]

Jeff Cressman - Trombone on [11]
David Stout - Trombone And Horn Arrangement on [5]
Bill Ortiz - Trumpet on [11]
Daniel Lozano - Trumpet on [3]
Harry Kim - Trumpet on [5]
Sergio Rotman - Tenor Saxophone on [3]
Dave Pozzi - Tenor Saxophone on [5]
Wayne Shorter - Saxophone on [11]

Pedro Alfonso - Violin on [5]

Lester Mendez - Producer
Miguel - Producer on [9]
The Cataracs - Producer [4]
Cindy Blackman Santana - Co-Producer on [11]
Bill Malina - Recording Engineer
Jim Reitzel - Guitar Engineer on [1-8,11-12], Recording Engineer on [6,8,9,10,11], Mixing Engineer on [10-11]
Josh Connolly - Assistant Engineer At Odd Studios
Dave Diffin - Assistant Engineer At Odd Studios on [1,3]
Scott Moore - Assistant Engineer At Ocean Way Recording on [5],
Tony Maserati - Mixing
Manny Marroquin - Mixing on [9]
Justin Hergett - Mix Engineering on [1,7,9]
James Krausse - Mix Engineering on [2,3,12]
Matt Wiggers - Mix Engineering on [4,5]
Chris Galland And Delbert Bowers - Assistant Mixers on [9]
Chris Gehringer - Mastering
Clive Davis, Carlos Santana, Afo Verde, Michael Vrionis And Tom Corson - Executive Producers
Alex Gallardo And Fernando Cabral De Mello - A&R
La Fábrica De Pepinos De Boa Mistura - Album Artwork & Psychedelia
Shawn "Tubby" Holiday - A&R on [8,9]

Track 7: Besos De Lejos:
Emilio Estefan - Producer
Javier Conde Alonso - Arranger
Eric Schilling - Mixer
Tuco Barini - Recording Engineer (Percussion In Brazil)
Dave Poler - Vocal Engineering
Izzy Maccio And Jimmy Sanchez - Assistant Engineers
Ron Taylor And Danny Ponce - Additional Engineering
Kurt Berge - Technical Support
José Maldonado - Production Manager

 C o m m e n t s ,   N o t e s


Recorded at Odds On Studios at Las Vegas; The Bank at Burbank (tracks 1, 2, 4, 5, 7, 12 only); Cia. dos Técnicos Studio at Rio de Janeiro, Brazil (Spanish-language vocals of "Saidera"); ART House Studio at Miami (Spanish-language vocals of "Amor Correspondido"); Crescent Moon Studios at Miami ("Beijo de Longe"); Art Dealer Chic Studios at Los Angeles ("Indy"); Tarpan Studios at San Rafael (tracks 10 and 11 only); Ocean Way Recording, Hollywood ("Iron Lion Zyon" only).

Mixed at Mirrorball Studios, North Hollywood, except "Beijo de Longe", mixed at Crescent Moon Studios; "Indy", mixed at Larrabee Studios, Universal City; and "I See Your Face", mixed at Odds On Studios.

Mastered at Sterling Sound, New York City.



Corazón is Carlos Santana's first album for a major label since 2002's Shaman. It marks his reunion with executive producer Clive Davis, who masterminded 1999's multi-platinum Supernatural. Billed by RCA as his "first Latin album," Corazón is the studio counterpart to the guitarist's HBO Latino concert special that featured his band performing with a host of Latin music superstars in his native Mexico. The singing was (as it is here) mostly in Spanish. For the most part, Santana actually sounds hungry again. His studio band is filled with killers, including drummer Dennis Chambers, timbalero Karl Perazza, and conguero Raul Rekow. Opener "Saideira" features his trademark tone in a passionate, stinging, gritty exchange with vocalist Samuel Rosa, from the Brazilian rock and reggae band Skank. Jittering, insistent horns and layers of percussion push both men to escalate the battle. Juanes lends his soulful croon to first single "La Flaca." It's got an anthemic hook with layers of backing vocals framing Santana's tight and tasty solos. Los Fabulosos Cadillacs back the guitarist on "Mal Bicho," an aggressive, careening cumbia. "Oye 2014" is a Latin hip-hop reprise of "Oye Como Va" with the now ubiquitous Pitbull. Though interesting, it falls flat. Bob Marley's "Iron Lion Zion" features Ziggy Marley and Colombian rappers ChocQuibTown in a fusion that works, melding cumbia, reggae, and hip-hop. In "Una Noche en Napoles" - a cover of Pink Martini's "Una Notte a Napoli" - Mexican-American singer Lila Downs, Spanish cantaora Niña Pastori, and Argentine folksinger Soledad meet Santana's nylon-string guitar in a steamy buleria that weaves their voices together yet keeps their highly individual styles distinct. Gloria Estefan appears on the lilting pop son "Besos de Lejos," which gives Santana a chance to showcase his rumba chops. Romeo Santos turns in a surprising non-bachata performance on "Margarita." His bilingual lyrics and lilting high tenor are wed to airy soulful Caribbean R&B. Santana ties it to the earth with taut phrasing and a brief, biting solo. Miguel's "Indy" is deeply sensual, babymaker pop-soul with a spiritual lyric. The composer sings and plays guitar accompanied only by Santana and Perazza. The jazzy salsa of "Yo Soy la Luz" was composed by Santana and features not only his wife, Cindy Blackman on drums, but also saxophonist Wayne Shorter playing sweltering fills and a gorgeous solo. There is likely some truth in the suspicion that this is an(other) attempt to repackage Santana for a new audience, but to dismiss Corazón for that would be to discount the great creativity and innovation currently at work in the wildly diverse world of Latin popular music, and also Santana renewed vitality as a musician. While some of these cuts are forgettable, his inventive engagement with Latin pop here is not only successful, but satisfying.

Thom Jurek - All Music Guide



A Latin-pop version of Santana's all-star 1999 supersession, Supernatural? A great idea that's fairly well-executed here. "Oye 2014" updates Santana's 1970 cover of Tito Puente's "Oye Como Va" for yet another generation, with bass drops and an overzealous Pitbull rap ("We making history, baby, like Nelson Mandela did!"); "Mal Bicho," with Argentine vets Los Fabulosos Cadillacs, is seamless cumbia-psych-skapunk swarming with bee-sting riffs. Carlos Santana's signature tone meshes handsomely with Romeo Santos' breathy tenor ("Margarita") and sells even generic jams ("La Flaca," with Colombian star Juanes). It remains an unmistakable, undeniable sound.

Will Hermes - May 6, 2014
RollingStone.com



Carlos Santana is one of the most distinctive musicians the music world has ever seen. With ten Grammy Awards and three Latin Grammy Awards already filling his bookshelves at home, Santana returns with his 22nd album as part of the band Santana (he has released 37 overall, with 15 being solo releases). Although the outfit released their last album, Shape Shifter, just two years ago, many of his less ardent followers will see the release as the first major mainstream outing for Santana since the epic radio success of the star-studded collaborations album Supernatural back in 1999.

Although the group have enjoyed equally high profile collaborations on the follow-up releases to santanaSupernatural – Shaman (2002), All That I Am (2005), Guitar Heaven (2010) – none have managed to recreate the phenomenal multi-platinum global success of their 1999 release. Given that Corazón boasts collaborations with everyone from Latin American Goddess Gloria Estefan to rapper (is he really?) and mass collaborator Pitbull, there is every possibility that it may be the record that finally knocks Supernatural off its throne as Santana’s definitive release. With the release garnering a great deal of attention, is it worth the hype?

Corazón is everything a Santana record needs to be. Billed as the Mexican-American rocker’s first ever Latin album, the music speaks far louder than any of the guest vocalists. For, as with Supernatural, Santana never restricts his compositions to set genres, meaning within an album he travels the world, or music, both effortlessly and seamlessly. With elements of Blues, Jazz, Rock and Latin, Corazón is an album packed to the brim with exciting twists and turns.

Equally impressive is Santana’s ability to ignore the sonic restrictions of an artist’s reputation, instead highlighting innate strengths and unexplored talents. While Pitbull may be seen by many as a rather predictable featured artist, given that he appears to have worked with literally everyone over the last few years, his appearance on ‘Oye 2014′ may contain some of the most ridiculous lyrics Santana has ever been associated with, but it reworks Santana’s sensational ‘Oye Como Va’ into a dizzyingly hypnotic affair.

Given that Santana can make even Pitbull sound good, it goes without saying that celebrated vocalists Gloria Estefan, Juanes and Lila Downes all shine on Corazón. However, it is rising neo-soul singer Miguel and Brazilian vocalist Samuel Rosa that steal the show. The stripped back ‘Indy’ is a remarkable duet between Miguel’s vocal and Santana’s guitar, while the gritty album opener ‘Saideira’ (a reworking of Rosa’s own hit single with his band Skank) may see Rosa become a much bigger name on the international scene than he currently is.

With only one lowlight, the pop-tinged Diego Torres collaboration ‘Feel It Coming Back’, which suffers as a result of Torres’ battle with the English language, there is no denying Corazón ensures Santana’s reputation remains in tact. Corazón is a stunning listening experience.

So So Gay © SSG Media Ltd 2009-2015.



Corazón is the twenty-second studio album (thirty-seventh album overall) by Santana, released on May 6, 2014. Produced by Lester Mendez, the album features collaborations with various singers like Gloria Estefan, Ziggy Marley and Cindy Blackman. "La Flaca" featuring Juanes, the first single from the album was released in November 2013. The album was certified double platinum in the Latin by the RIAA for shipping over 120,000 copies in the United States; furthermore, it has sold over 88,000 copies in the country according to Nielsen SoundScan.

The album received mixed to positive reviews by critics. Rolling Stone's Will Hermes considered the album a Latin pop version of Supernatural and that its music "remains an unmistakable, undeniable sound". Thom Jurek from AllMusic felt "Santana actually sounds hungry again" and stated that "while some of these cuts are forgettable, his inventive engagement with Latin pop here is not only successful, but satisfying". Billboard's Leila Cobo considered the album to be guitar-driven despite of the many vocalists. Overall, she praised the album, but pointed a few songs that she considered not to have worked, such as "Feel It Coming Back", in which she felt that Diego Torres struggled with the language; and "Indy", in which Miguel's improvisations "lack structure and tend to meander". Jeremy Williams-Chalmers from So So Gay felt the album might "be the record that finally knocks Supernatural off its throne as Santana's definitive release" and considered it to be "everything a Santana record needs to be", while joining Cobo on criticizing Torres' English skills. The Independent's Nick Coleman said the album "contains a brightly recorded, punchy collection of 'Latin' beats and melodies, plus some rock, featuring a handful of distinguished guests and the familiar overflying drone of Carlos's own guitar obbligati" and that it "is certain to be a hit in its target territories".

Relix's Bill Murphy considered Santana's guitar playing in the album to be the "best he's done in decades" and felt that "where too many cooks may have overwhelmed Supernatural, Corazón simmers with spicy variety". Jon Pareles, writing for The New York Times, considered the songs to be radio-aimed and described the contrast between Santana's guitar and the guest singers vocals as follows: "The way Mr. Santana answers the lyrics and grapples for the foreground until verse and chorus gave way to full-fledged guitar solos is the audio equivalent of photobombing the lead vocal. Luckily, Mr. Santana's guitar can be as impassioned as any singer's voice." However, he considered some tracks (such as "Oye 2014" and "Yo Soy La Luz") to be "awkward moments".

Writing for New York Daily News, Jim Farber was not so impressed by the album. He criticized it being promoted as a Latin pop album while having half of its lyrics in English. He also saw negatively the artists chosen for this album: "Santana's glistening leads compete with, rather than complement, these artists. [...] Latin alternative music features so many artists who would have paired better with Santana's style. [...] Wrangling artists like those would have made this album a true first". Ultimate Guitar Archive's team felt Santana himself had little space in some of the songs and considered the album to be "a compilation of well formulated, radio-friendly Latino pop which often times ends up sounding somewhat bizarre". They also labeled the lyrics as "repetitive" and concluded by saying: "The outcome which appears on [...] Corazon falls short of any preset expectations. [...] Considering the album's pop-driven outcome it leaves the listener puzzled as to where Santana was hoping to proceed with this effort".

Wikipedia.org



Mit Corazón veröffentlicht Carlos Santana am 2. Mai 2014 erstmals in seiner Karriere ein Album komplett in spanischer Sprache, mit dem die Rock-Legende eindrucksvoll seine Liebe zur Latin Musik dokumentiert. Die Songs des Longplayers, der im Frühjahr 2014 erscheinen wird, entstanden in Zusammenarbeit mit einer Riege hochkarätiger Musiker, u.a. Gloria Estefan, Lila Downs, Los Fabulosos Cadillacs, , Romeo Santos, Ziggy Marley, Juanes und dem argentinischer Schauspieler und Latin-Pop-Sänger Diego Torres. Mit letzterem nahm Santana die neue Single Feel It Coming Back auf. Die Aufnahmen zu Corazón entstanden unter der Regie von Lester Mendez (Nelly Furtado, Shakira u.a.) in Las Vegas.

Amazon.de



„Santanas Gitarrenspiel betört einfühlsam wie eh und je – und ja, die Latin- Dominanz war selten so ausgeprägt wie hier.“

Good Times, Juni/Juli 2014



Der Meister als Gaststar auf dem eigenen Album.

Wozu etwas gut war, kann man oft erst viel später beurteilen. Als "Supernatural" 1999 erscheint und es vom Himmel Grammys regnet, sprechen nicht wenige aufgeregt vom Comeback des Großmeisters Carlos Santana. In Wirklichkeit durften wir den Beginn eines kreativen Todes miterleben.

Seitdem vertraut Carlos auf die ewig gleiche Formel, seine mehr und mehr ausfransenden Longplayer mit Gaststars zu füllen. Während Seal, Dido und Steven Tyler vor dem Studio Schlange stehen, verkümmert der Gitarrenfuchs auf seinen eigenen Alben zum Gaststar, der im Hintergrund brav die Gitarre knödelt. Ein in sich geschlossenes Werk wie einst "Caravanserai" brauchen wir von ihm wirklich nicht mehr erwarten.

Das schwache "Shape Shifter" brachte zumindest kurzzeitig die Hoffnung mit sich, dass dieser Spuk nun ein Ende gefunden hat. Aber mit "Supernatural"-Prouzent Clive Davis kehrt auf "Corazón", von der Plattenfirma groß als Santanas erstes reines Latin-Album angekündigt, auch die Featureflut wieder zurück. Neben Miguel, Ziggy Marley und Pitbull setzt er auf die in Südamerika bekannten Los Fabulosos Cadillacs, Skank, Diego Torres und die hierzulande fast schon in Vergessenheit geratene Gloria Estefan.

"Corazón" gelingt durchaus ein sonnendurchfluteter Start, dessen einziges Manko der zu euphorisch hinzugefügte Weichspüler sein dürfte. Wer in Latin-Musik eine Aufforderung zum Samba tanzen und Cocktails schlürfen sieht, findet mit den ersten drei Tracks "Saideira", "La Flaca" und "Mal Bicho" optimale Befriedigung.

Leidenschaftlich kochen sich Bläser, Hammond-Orgel und Percussions miteinander hoch, bis sie in "Mal Bicho", einem fiebrigen Rumba-Rap, ihren Siedepunkt erreichen. Carlos Santana zeigt noch mal eindrucksvoll, warum er zu den Gitarristen gehört, die man schon mit nur einem einzigen betörenden Ton erkennt. So weit, so gut.

Leider zerbröselt dieser angenehme Eindruck mit "Oye 2014" und kommt sich später nur noch ein einziges Mal wieder. In dieser sinnbefreiten Neuaufnahme zieht Pitbull Santanas Cover von Tito Puentes "Oye Como Va" mit dumpfen und nervtötenden Beats auf Black Eyed Peas-Niveau herunter. Ein Tief, aus dem das viel zu brave "Iron Lion Zion" nicht herauszuholen vermag. Deutlich orientiert sich Santana gemeinsam mit Ziggy Marley und den kolumbianischen Rappern von ChocQuibTown am samtweichen Singlemix des Bob Marley-Songs und schleift diesem die letzten überstehenden Kanten ab.

Mit "Una Noche en Napoles" und "Besos De Lejos", in dem Gloria Estafan den Part der verstorbenenen Cesaria Evora übernimmt, begibt sich Santana immer weiter in seichte Gefilde. Das von Romeo Santos gesungene "Margarita" ertrinkt zu zwei Teilen in Rührseligkeit: ein Teil Konsensmusik, der andere Teil zielloses Gitarrenspiel.

Doch erst mit Diego Torres und dem vor übelstem Schmalz triefenden "Feel It Coming Back" erreicht "Corazón" seinen zweiten Tiefpunkt. Mit dem miefenden Sexappeal des Deutschrocks, der jetzt auch mal die Hüfte schwingen und wie Latin klingen mag, schaukelt sich das zopfige Stück bis zu seinem ausufernden Refrain. Und dann die Hände zum Himmel und lasst uns fröhlich sein.

Wer all dies überstanden hat, findet im schwülen Salsa-Jazz von "Yo Soy la Luz" doch noch eine kleine überraschende Belohnung. Gemeinsam mit Saxofonist Wayne Shorter und Santanas Frau Cindy Blackman am Schlagzeug beschert dieser Track einen kurzen Blick in die Vergangenheit, der von Shorters Virtuosität lebt. Ein Jam, den auch das gegen Ende all zu plump und zu oft eingeworfene "Sexy"-Gestöhne nicht ruinieren kann.

Nach seinem Latin-Album möchte sich Carlos Santana mit der Originalbesetzung seiner Band auf die Arbeiten an "Santana IV" konzentrieren. Laut dem Gitarristen haben sie sich bereits mehrfach getroffen und unglaubliche Songs geschrieben: Die Hoffnung stirbt zuletzt, liegt mit "Corazón" aber in ihren letzten Zügen.

Sven Kabelitz - Laut.de
 

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