By David O’Neill

Artwork for Sentient by SantanaCertain names are synonymous with exceptional guitar playing. Renowned artists such as BB King, John Mayall, Eric Clapton, Jimi Hendrix, Rory Gallagher, Gary Moore, and Slash are often cited, although this list may vary according to personal preferences. Nevertheless, one name stands out in relation to Latin American blues, funk, jazz, and various other guitar styles. Carlos Santana has collaborated with numerous musicians across diverse genres, including blues, pop, hip-hop, funk, soul and rock, for nearly 60 years.

For many, Santana’s name is linked with ‘Samba Pa Ti,’ a track from his 56-year-old album, ‘Abraxas’. However, if you’ve followed his career over the years, you might also know albums like ‘Caravanserai’, ‘Moonflower’, ‘Supernatural’, ‘Guitar Heaven’ and his latest, ‘Sentient’.

Tracks that have previously featured on other artists’ albums have been remixed and remastered, offering a new take on the original recordings. Collaborations include rapper Darryl ‘DMC’ McDaniels, Smokey Robinson, pianist Paolo Rustichelli, Miles Davis, and Michael Jackson. Notably, Michael Jackson passed away on June 25, 2009, and would have turned 66 on August 29, 2025.

From the opening notes of ‘Let The Guitar Play’, Santana’s distinctive guitar tone is recognizable. It complements McDaniels’ rapping without overshadowing it, maintaining a balance that enhances both elements.

‘Stranger In Moscow’ is an instrumental version of the track from Michael Jackson’s ‘HIStory: Past, Present and Future, Book 1’ album released in 1995. Santana recorded this instrumental version in 2007 with Narada Michael Walden. A review of the video released with the track demonstrates the artistry of Jackson and the interpretation of the track by Santana, who replaces the original vocals with his sensitive guitar performance.

The second Jackson “collaboration” reworks the original guitar parts of the 2001 ‘Invincible’ album’s ‘Whatever Happens’, enhancing the critically acclaimed track while staying true to the original, potentially earning more acclaim.

The collaboration ‘Please Don’t Take Your Love,’ recorded by Smokey Robinson in 2009 for his album ‘Time Flies’, features a distinct guitar tone contributed by Santana and showcases a notable performance from Robinson.

Originally recorded in 1996 for Paolo Rustichelli’s ‘Mystic Man’ album, ‘Get On’ is an instrumental track in the Santana funk style but features Miles Davis. Rustichelli’s work also includes ‘Vers Le Soleil’, ‘Rastafario’ and ‘Full Moon’, with remixing and remastering enhancing these tracks. ‘Rastafario’ has a style reminiscent of film noir detective movies.

Having virtually worn extra grooves in my version of ‘Moonflower’ during the 70s and 80s, adding ‘I’ll Be Waiting’ to this album picks up the mood and takes me straight back to the heady days of my early 20s and the opportunity to witness the man himself live in Wembley, a joy I repeated in 2013 in Birmingham with my son (also a budding guitarist at the time).

The jazz driven drum track ‘Coherence’ with his wife and long-time drummer Cindy Blackman Santana just indicates the virtuosity and bond between both.

I first heard ‘Blues for Salvador’ on ‘The Essential Santana Collection’ and this version detracts nothing from that one, and why would it, being about a fathers’ love for his son.

In conclusion, this is a reflective collection of collaborative music that the legendary Carlos Santana has released to the world across an increbible almost 60 year career.  It is not a greatest hits collection, it is not a greatest works collection, it is a retrospective collection of collaborations that can still be current and influential in many different ways. Once again, the man is, and always will be, a legend.