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In a, guitarist revealed he’s formed a new band with keyboardist Herbie Hancock, saxophonist Wayne Shorter, guitarist JohnMcLaughlin and his drumming wife Cindy Blackman. The new band will becalled Supernova.“Definitely spring recording and summer touring in Europeand maybe America,” Carlos said of the group’s plans. “Can you hear it? It’s kind oflike playing with, sharing music with Albert Einstein and Stephen Hawking, ’causeWayne and Herbie, they’re at that level of genius, genius, genius, genius. I’m justgrateful that they accept it and want to do it. And every time I play with Cindy, itgoes viral. People go crazy.
The energy between Cindy and I is very, very supernova.”Santana has performed with each of the musicians in Supernova many times in the past.For today’s Full Show Friday we present audio of a gig Carlos played with aband that included Herbie in 1981 at Tokyo’s Den en Coliseum. In addition to Santanaand Hancock the ensemble also featured Wynton Marsalis on trumpet, RonCarter on bass, Tony Williams on drums and percussionists ArmandoPeraza, Raul Rekow and Orestes Vilato. The band rolls through anumber of choice cuts including “Sorcerer,’ “Round Midnight,” “Europa” and “SaturdayNite,” but we’re most impressed with the sizzling, 22-minute “Watermelon Man” “EvilWays” “Watermelon Man” sequence towards the middle of the set.Check out audio captured from an FM radio broadcast: 0:00:00 Sorcerer 2:42. 0:02:42 A Quick Sketch 16:50. 0:19:32 Spartacus Love Theme 8:34.
0:28:06 Watermelon Man – Evil Ways – Watermelon Man 22:10. 0:50:16 Round Midnight 5:50. 0:56:06 Song For My Brother 7:25. 1:03:31 Europa 8:52. 1:12:23 Saturday Nite 11:42.
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This is an extremely symbolic album, for and the. Rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old. Recorded during a break on a tour of Japan, a month before made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating, and, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of standards, and then they progress into the mid-'60s post-bop zone, with and driving and relentlessly forward. Several staples from the /. Repertoire turn up ('The Eye of the Hurricane,' 'The Sorcerer,' 'Pee Wee'), and there is one wistful ballad, 'I Fall in Love Too Easily,' where sounds a bit callow, not yet the master colorist. Remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship.
This looked like it would be a Japan-only release, but since the buzz on was so loud, CBS put it out in the U.S. In 1982, fanning the flames even more.