Love Devotion Surrender | ||||
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Studio album by | ||||
Released | June 22, 1973 | |||
Recorded | October 1972, March 1973 [1] | |||
Genre | Jazz fusion | |||
Length | 38:44 | |||
Label | Columbia | |||
Producer | Carlos Santana & Mahavishnu John McLaughlin | |||
Carlos Santana chronology | ||||
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John McLaughlin chronology | ||||
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Love Devotion Surrender is an album released in 1973 by guitarists Carlos Santana and John McLaughlin, with the backing of their respective bands, Santana and The Mahavishnu Orchestra. The album was inspired by the teachings of Sri Chinmoy and intended as a tribute to John Coltrane. It contains two Coltrane compositions, two McLaughlin songs, and a traditional gospel song arranged by Santana and McLaughlin. It was certified Gold in 1973.
In 2003, Love Devotion Surrender was released on CD with alternate versions as bonus tracks.
Santana and McLaughlin toured in 1973 and 1974 to support the album. [2]
Both men were recent disciples of the guru Sri Chinmoy, and the title of the album echoes basic concepts of Chinmoy's philosophy, which focused on "love, devotion and surrender". [3] [4] Chinmoy spoke about the album and the concept of surrender:
Unfortunately, in the West surrender is misunderstood. We feel that if we surrender to someone, he will then lord it over us....But from the spiritual point of view...when the finite enters in the Infinite, it becomes the Infinite all at once. When a tiny drop enters into the ocean, we cannot trace the drop. It becomes the mighty ocean. [5]
For both men the album came at a transitional moment spiritually and musically: [6] Love Devotion Surrender was a "very public pursuit of their spiritual selves." [7] Carlos Santana was moving from rock toward jazz and fusion, [8] experiencing a "spiritual awakening", [9] while McLaughlin was about to experience the break-up of the Mahavishnu Orchestra after being criticized by other band members. [10] [11] Santana had been a fan of McLaughlin, [12] and McLaughlin had introduced Santana to Sri Chinmoy in 1971, at which time the guru bestowed the name "Devadip" on him, and the two had started playing and recording together in 1972. [1] According to his biographer Marc Shapiro, Santana had much to learn from McLaughlin: "He would sit for hours, enthralled at the new ways to play that McLaughlin was teaching him," and his new spirituality had its effect on the music: "the feeling was that Carlos's newfound faith was present in every groove." [13]
The first track, "A Love Supreme", is a version of the Coltrane composition "Acknowledgement" from the 1964 landmark album A Love Supreme . It features McLaughlin and Santana, both playing electric guitar, in an extended, improvised trading of bars. For the most part, Santana is panned to the left channel and McLaughlin to the right. [6] As with the original, toward the end a chant of "A love supreme" is heard. (Only Armando Peraza is credited as a singer.)[ original research? ]
"Naima" is another Coltrane composition, played on acoustic guitar. First appearing in 1959 on Coltrane's Giant Steps , it is a gentle song played in a straightforward manner. [6]
"The Life Divine" again returns to Coltrane's A Love Supreme, opening with the chanted phrase "the love divine." [1] The song's first part is extensive, high-tempo improvisation by Santana, alternating between quick phrases and long, sustained notes (including one that runs from 3:29 to 4:03). Midway through the song and introduced by the "life divine" chant, McLaughlin takes over with mostly high-speed staccato bursts and riffs. The chant returns, incorporating "it's yours and mine", and Larry Young's organ, with percussion, provide the outro.[ original research? ]
"Let Us Go Into the House of the Lord" is a 16-minute-long track based on the traditional gospel song. The arrangement was credited to Santana and McLaughlin but Bob Palmer in Rolling Stone wrote that the arrangement is close enough to Lonnie Liston Smith's "to be described as a cop". [6] Smith's arrangement was recorded in 1970 when he worked with Pharoah Sanders, who had recorded and worked closely with Coltrane. After the slow introductory statement (the part which resembles Smith's arrangement), most of the piece consists of soloing over two chords accompanied by a loping bass and Latin percussion. Of Larry Young's organ contribution here, Paul Stump, in Go Ahead John, wrote: "with its overlapping flurries of triplets, [it] is a moment of pure genius, worthy of mention in its own right, a musical equivalent of a swarm of surreally coloured butterflies." [1] The track closes with a return to the slow introductory statement.
The final track, "Meditation", is a "pretty but light McLaughlin composition" [6] that McLaughlin had previously recorded as a solo for exclusive use by the New York radio station WNEW-FM. McLaughlin plays piano, and Santana the acoustic guitar, on Love Devotion Surrender's version of the tune. [1]
Review scores | |
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Source | Rating |
AllMusic | [14] |
Christgau's Record Guide | B− [15] |
The Rolling Stone Jazz Record Guide | [16] |
Rolling Stone | (not rated) [17] |
Criticism of the compositions and their execution is varied. In addition to noting the resemblance of "Let Us Go" to Smith's arrangement, Bob Palmer referred to the "superficial treatments" of Coltrane material, [18] while Paul Stump, author of Go Ahead John, a McLaughlin biography, is negative about the album's execution and direction, saying it was, "in retrospect, a spiritually-hobbled album", criticizing Santana's tone and McLaughlin's "technophiliac tendencies" and "electronic gimmickry", and a "plink-plonk conga-heavy foursquare vamp all too typical of Santana" in "A Love Supreme". [1] Thom Jurek is much more positive, praising, for instance, "The Life Divine" as "insanely knotty yet intervallically transcendent." [14]
Fans of Santana were, apparently, disappointed; according to Thom Jurek, Love Devotion Surrender was a "hopelessly misunderstood record in its time by Santana fans", [14] though Marc Shapiro's biography of Santana suggests otherwise. [19]
Thom Jurek, reviewing the album for AllMusic, praises the album highly: "After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful." [14] Robert Palmer, writing for Rolling Stone , is ambivalent about the album, calling it "loud and insistent...depend[ent] on monochord drones and simple modes for its structure and on sheer screaming force for much of its effect." He thinks more highly of Carlos Santana's playing than of McLaughlin's, which he suggests lacks feeling and relies on technicality: "Here, at his most inspired, McLaughlin is exhilarating if a bit monolithic." [6] Later, in a positive review of Santana's Welcome (1973), Palmer said the album "was simply a series of ecstatic jams on Coltrane and Coltrane-influenced material." [18]
Many reviewers praise organist Larry Young. Thom Jurek says Young is the gel that holds the two very different guitar players together; [14] Robert Palmer says "that the sensitive organ solos on Love Devotion Surrender were the best things on that album." [20]
In 2001, Bill Laswell, responsible for remixes of albums by Bob Marley and Miles Davis, mixed and remixed excerpts of Santana's Illuminations and Love Devotion Surrender, [21] on an album called Divine Light. [22]
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "A Love Supreme" | John Coltrane | 7:48 |
2. | "Naima" | Coltrane | 3:09 |
3. | "The Life Divine" | John McLaughlin | 9:30 |
No. | Title | Writer(s) | Length |
---|---|---|---|
4. | "Let Us Go Into the House of the Lord" | traditional | 15:45 |
5. | "Meditation" | McLaughlin | 2:45 |
Total length: | 38:44 |
No. | Title | Writer(s) | Length |
---|---|---|---|
6. | "A Love Supreme" (take 2) | Coltrane | 7:24 |
7. | "Naima" (take 4) | Coltrane | 2:51 |
Chart (1973) | Peak position |
---|---|
Australian Albums (Kent Music Report) [23] | 10 |
Austrian Albums (Ö3 Austria) [24] | 14 |
Finnish Albums (The Official Finnish Charts) [25] | 17 |
German Albums (Offizielle Top 100) [26] | 26 |
Norwegian Albums (VG-lista) [27] | 19 |
UK Albums (OCC) [28] | 7 |
US Billboard 200 [29] | 14 |
Region | Certification | Certified units/sales |
---|---|---|
United States (RIAA) [30] | Gold | 500,000^ |
^ Shipments figures based on certification alone. |
Carlos Humberto Santana Barragán is an American guitarist, best known as a founding member of the rock band Santana. Born and raised in Mexico where he developed his musical background, he rose to fame in the late 1960s and early 1970s in the United States with Santana, which pioneered a fusion of rock and roll and Latin American jazz. Its sound featured his melodic, blues-based lines set against Latin American and African rhythms played on percussion instruments not generally heard in rock, such as timbales and congas. He experienced a resurgence of popularity and critical acclaim in the late 1990s.
Chinmoy Kumar Ghose, better known as Sri Chinmoy, was an Indian spiritual leader who taught meditation in the United States after moving to New York City in 1964. Chinmoy established his first meditation center in Queens, New York, and eventually had 7,000 students in 60 countries. He was an author, artist, poet, and musician; he also held public events such as concerts and meditations on the theme of inner peace. Chinmoy advocated a spiritual path to God through prayer and meditation. He advocated athleticism including distance running, swimming, and weightlifting. He organized marathons and other races, and was an active runner and, following a knee injury, weightlifter. Some ex-members have accused Chinmoy of running a cult.
John McLaughlin, also known as Mahavishnu, is an English guitarist, bandleader, and composer. A pioneer of jazz fusion, his music combines elements of jazz with rock, world music, Western classical music, flamenco, and blues. After contributing to several key British groups of the early 1960s, McLaughlin made Extrapolation, his first album as a bandleader, in 1969. He then moved to the U.S., where he played with drummer Tony Williams's group Lifetime and then with Miles Davis on his electric jazz fusion albums In a Silent Way, Bitches Brew, Jack Johnson, Live-Evil, and On the Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.
The Mahavishnu Orchestra was a jazz fusion band formed in New York City in 1971, led by English guitarist John McLaughlin. The group underwent several line-up changes throughout its history across its two periods of activity, from 1971 to 1976 and from 1984 to 1987. With its first line-up consisting of musicians Billy Cobham, Jan Hammer, Jerry Goodman, and Rick Laird, the band received its initial acclaim for its complex, intense music consisting of a blend of Indian classical music, jazz, and psychedelic rock as well as its dynamic live performances between 1971 and 1973. Many members of the band have gone on to acclaimed careers of their own in the jazz and jazz fusion genres.
A Love Supreme is an album by the jazz saxophonist and composer John Coltrane. He recorded it in one session on December 9, 1964, at Van Gelder Studio in Englewood Cliffs, New Jersey, leading a quartet featuring pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones.
Birds of Fire is the second studio album by jazz fusion band the Mahavishnu Orchestra. It was released in 1973 by Columbia Records and is the last studio album released by the original line-up before it dissolved.
The Inner Mounting Flame is the debut studio album by jazz-rock fusion band Mahavishnu Orchestra, recorded in August 1971 and released later that year by Columbia Records. After their formation, the group performed several debut gigs before they entered the studio to record their first album featuring all original material written by guitarist John McLaughlin.
Welcome is the fifth studio album by Santana, released in 1973. It followed the jazz-fusion formula that the preceding Caravanserai had inaugurated, but with an expanded and different lineup this time. Gregg Rolie had left the band along with Neal Schon to form Journey, and they were replaced by Tom Coster, Richard Kermode and Leon Thomas, along with guest John McLaughlin, who had collaborated with Carlos Santana on Love Devotion Surrender. Welcome also featured John Coltrane's widow, Alice, as a pianist on the album's opening track, "Going Home" and Flora Purim on vocals. This album was far more experimental than the first four albums, and Welcome did not produce any hit singles.
Apocalypse is the Mahavishnu Orchestra's fourth album and third studio album, released in 1974.
Illuminations is a 1974 collaboration between Alice Coltrane and Carlos Santana. Saxophonist/flautist Jules Broussard, keyboardist Tom Coster, drummer Jack DeJohnette, percussionist Armando Peraza and bassist Dave Holland also contributed to the album.
Borboletta is the sixth studio album by the American Latin rock band Santana. It is one of their jazz-funk-fusion oriented albums, along with Caravanserai (1972), and Welcome (1973). Non-band albums by Carlos Santana in this style also include Love Devotion Surrender (1973) with John McLaughlin and Illuminations (1974) with Alice Coltrane, Jack DeJohnette and Jules Broussard. The guitarist leaves much room to percussion, saxophone and keyboards to set moods, as well as lengthy solos by himself and vocals. The record was released in a metallic blue sleeve displaying a butterfly, an allusion to the album Butterfly Dreams (1973) by Brazilian musician Flora Purim and her husband Airto Moreira, whose contributions deeply influenced the sound of Borboletta. In Portuguese, borboleta means "butterfly".
The Swing of Delight is a 1980 double album by Carlos Santana. It was released under his temporary Sanskrit name Devadip Carlos Santana, given to him by Sri Chinmoy. It peaked at #65 on the charts.
Visions of the Emerald Beyond is the fifth album by the jazz fusion group Mahavishnu Orchestra, and the second released by its second incarnation.
Devotion is the second album by the English jazz fusion guitarist John McLaughlin, released in 1970. It was recorded while McLaughlin was a member of Tony Williams Lifetime. McLaughlin was joined by his Lifetime bandmate, organist Larry Young, bass guitarist Billy Rich and former Electric Flag and Jimi Hendrix drummer Buddy Miles. McLaughlin was unhappy with the finished album. On his website, he wrote, “In 1969, I signed a contract in America for two records. First is 'Devotion' that is destroyed by producer Alan Douglas who mixes the recording in my absence.”
My Goal's Beyond is the third solo album by guitarist John McLaughlin. The album was originally released in 1971 on Douglas Records in the US. It was later reissued by Douglas/Casablanca (1976), Elektra/Musician (1982), and in 1987 by Rykodisc on CD and LP.
The discography of Carlos Santana, a Mexican-American rock guitarist, consists of seven studio albums, three live albums, six compilation albums and five singles.
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The Caravanserai Tour was a series of performances by American Latin rock band Santana in support of their album Caravanserai during 1972 and 1973. It started on September 4, 1972, at the Erie Canal Soda Pop Festival in Griffin, Indiana, and ended on October 21, 1973 at Ginasio Municipal Novo in Brasília, Brazil. This tour could be considered to be the group's most eclectic tour at this point, as the band did concerts at every continent except Africa and Antarctica, including one of the first, if not the first, tours of Latin America by a major American rock act.
The Welcome Tour was a concert tour by Santana promoting their album, Welcome. The tour began on November 13, 1973 at Colston Hall in Bristol, England and ended on October 29, 1974 at the William P. Cole, Jr. Student Activities Building in College Park, Maryland.
Carlos was thrilled when feedback indicated this [sic] his old Santana fans were finding much to like in the music as well