Singled Out Classics: Black Magic Woman

02/25/2009 

(antiMusic) We have a very special edition of Singled Out for you today! Legendary rocker Gregg Rolie (founding member, lead singer and keyboards for Santana and Journey) checks in with the inside story of one of Santana’s biggest hits “Black Magic Woman” which Gregg sang lead vocals on. You can hear and see him sing the classic tune on his forthcoming live DVD- more on that later, but right now here is Gregg with the story behind “Black Magic Woman”:

Black Magic Woman is still one my favorite songs to sing and perform even after almost 40 years. It took me about a year to convince the band that we should do this song. It was one I had a passion for and I knew I could sing it. Some songs are made for you and other songs you just sing. This one was made for me. A little known fact is that Mike Shrieve (drummer for Santana) turned me on to Black Magic Woman. He knew I was a big Peter Green fan from his involvement with John Mayall’s Blues Breakers where Peter took Eric Clapton’s place as the lead guitarist and played on the album “Hard Road”. Mike gave me the Fleetwood Mac album with lead guitarist Peter Green and I found Black Magic Woman penned by Peter. It became a #4 Hit for Santana and one of the most recognizable Santana songs for decades to follow. I’m sure glad Mike gave it to me.

Now about that DVD. Here is the official announcement: You’ve heard his voice and keyboards on such classic Santana hits as “Black Magic Woman”, “Evil Ways”, “No One To Depend On”, “Everybody’s Everything” and “Oye Como Va”, now legendary Santana / Journey founding member, and Rock n Roll Hall of Fame inductee, Gregg Rolie is preparing to release a DVD of his band in concert at the Sturgis Motorcycle Ralley in 2007. Shot with 17 cameras, the Gregg Rolie Band whip up an exciting memorable performance featuring all the beloved Santana hits, as well as tracks from his 2001 critically acclaimed solo CD ‘Roots’.

Along with preparations for the new DVD release, Gregg Rolie will be featured on the PBS special Trini Lopez Presents The Legends of Latin Music. Filmed at the Orpheum Theater in Los Angeles last October, the program will be aired in March 2009.

Celebrating its 40th Anniversary, this year Warner Home Video’s will be releasing a Blu-ray and DVD Ultimate Collector’s Edition with high definition picture and sound of ‘Woodstock: 3 Days of Peace & Music’, which will also feature two hours of bonus material, some of it newly-discovered. Much to th e elation of fans worldwide, extra footage of Santana’s historic Woodstock performance will be included. Held at the Austin Convention Center in Austin, Texas on Saturday March 23, along with Santana alumni Michael Shrieve, Gregg will reside on a discussion panel of performers, filmakers and key technicians who helped create the timeless music classic and Oscar winning ‘Best Documentary’ Woodstock.

“The first time I played with Gregg everything just clicked. In a humble way, it was very much like McCartney and Lennon. You know when there’s chemistry there. Drummers came and went; congeros came and went, but his feeling and my feeling…sometimes it was hard to tell who was the needle and who was the thread.” Carlos Santana

Gregg Rolie is responsible for co-founding two phenomenally popular, multi-platinum super groups – Santana and Journey. In 1998, the world class keyboardist/vocalist/producer was inducted into the Rock n Roll Hall of Fame as part of the original Santana band. Formed in San Francisco in 1969, the multi-cultural ensemble produced three groundbreaking hit albums which yeilded several FM staples. “There’s one unique ability of the band,” Gregg told music critic Ben Fong-Torres, “and that was that it created music that there is no name for… Santana’s music is such a jell of different material that there just is no name for it, and there’s no one that plays it like Santana does.” Departing after the pioneering jazz fusion offering ‘Caravansarai’ in 1972, both band members Gregg Rolie and Neal Schon went on to form quintessential 1980s hit-makers Journey. After co-writing and producing the band’s first 7 albums, along with constant touring, Gregg decided to leave Journey once the hugely successful 1981 live double LP ‘Captured’ was issued. During the ’80s Rolie wrote, produced and played on the Santana albums ‘Shango’ and ‘Freedom’, and released his debut, self-titled 1985 solo album and its 1987 follow-up ‘Gringo’, before co-founding the all-new Journey-esque rock group The Storm at the tail end of the decade. The Storm released two albums: ’92′s eponymous disc that yielded the #13 Billboard Hot 100 hit “I’ve Got A Lot To Learn About Love” and ’96′s ‘Eye Of the Storm’. That same year, Rolie, along with five other original Santana members, formed Abraxas Pool, a spirited collaboration that resulted in the 1997 critically acclaimed album of the same name.

Thirty-five years after Gregg and Carlos met in San Francisco, 2001 marked the release of Rolie’s third solo album ‘Roots’. The first-ever release on Bay-Area based Tower Records’ new proprietary label 33rd Street, ‘Roots’ finds Gregg revisiting the incredible brew of sounds he helped conjure up in the late 60′s. Rolie calls Roots’ twelve original selections “Latin rock plus”; the instrumentation is Latin percussion, with organ, guitar, horns, and lots of great solo work and songwriting”, adding that “I really wanted to go all the way back to my Santana roots”.

The Gregg Rolie Band consists of founding Santana member Michael Carabello on Congas, Adrian Areas (son of original Santana percussionist Jose Chepi to Areas) on Timbales, drummer Ron Wikso (who was also in The Storm), Kurt Griffey on guitars, internationally acclaimed bassist, Chapman Stick artist and Santana alumni Alphonso Johnson and former Jean Luc Ponty keyboardist Wally Minko. “If you are having a good time at anything you do, you are going to do a good job at what you do,” Gregg recently told music critic Jim Harrington. “That’s really where the key to this band is. We really just enjoy each other a tremendous amount and have a lot of fun with this. We will get up to playing about 50 dates a year, and really that’s about all I want to do.” The Gregg Rolie Band will be performing throughout 2009 with tour dates listed on his official website.

For more information: www.GreggRolie.com

Tags: Black Magic Woman, Carlos Santana, Gregg Rolie, Mike Shrieve, Woodstock

As Published in the San Francisco Chronicle
Letters to Pink
Friday, February 20, 2009
Editor – I always enjoy reading articles about local Latin music (the early years) and David Rubien’s article (Azteca Rises Anew, Jan. 18) was good reading.

I just want to add that Santana got his Latin rock sound from an early San Francisco band called the Aliens at a time when Carlos Santana was playing blues and had a band called Santana Blues Band. The section on the book “Voices of Latin Rock” by Jim McCarthy with Ron Sansoe (pages 33 and 34) is correct. Santana would come frequently to the Night Life nightclub to check out the Aliens, who were the house band at the time. Jose (Chepito) Areas played percussion with the Aliens for years (1964-1968) before joining Santana. The rest is history.

The founder and leader of the Aliens, William (Guillermo) Coronado died Jan. 18. Fame eluded William and the Aliens, but many music historians and people who were there (Chepito) can testify to the fact that the Aliens originated the driving Latin rock sound that would later be popularized by others.

I don’t want to take anything away from Santana and the other talented musicians and bands that deserve to be recognized for their accomplishments and contributions to Latin music, but it is sad that William and his group never received the recognition they deserved. I was the original guitar and bass player for the Aliens and William was my brother.

Michael Coronado

Paradise (Butte County)

Tags: Aliens, Jose (Chepito) Areas, Michael Coronado, Night Life nightclub, William (Guillermo) Coronado

Paul Liberatore
Posted: 01/17/2009 03:08:35 PM PST

Rita Gentry, executive assistant to Carlos Santana, sorts memorabilia

Rita Gentry has worked quietly behind the scenes In the Bay Area rock music business for 40 years, the past eight as executive assistant to Marin’s Carlos Santana.
Now the modest Novato resident is being honored as one of the Women of Latin Rock at the Voices of Latin Rock concert, the fifth annual benefit for autism awareness at San Francisco’s Warfield Theatre on Jan. 24.
The 61-year-old Gentry is the only non-performer being recognized for her contributions to the Latin music scene, including helping to organize this show. Her fellow honorees are singers Lydia Pense and Linda Tillery, percussionist/drummer Sheila E. and singer/pianist Wendy Haas.
For 12 years, Gentry worked for legendary rock impresario Bill Graham as his secretary and as a production assistant. After Graham was killed in a 1991 helicopter crash, she stayed on with his company for another eight years. She is on the board of the Bill Graham Foundation.
Gentry, who is single, moved to Marin in the early ’70s, raising two children while working in various office capacities for the Grateful Dead, the New Riders of the Purple Sage, Commander Cody and the Sons of Champlin, among others.

Q: In your resume, you mention that you’re a native of San Francisco and “a participant in the Summer of Love.” Were you born into the counterculture?
A: I graduated from high school in 1965, so I was right in the heart of it. I went to shows at the Fillmore that cost $3 for three great acts. I wouldn’t trade that
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time for anything. It was fabulous. You just can’t put in the paper what was so fabulous about it.

Q: Why did you get into the administrative side of the music business?
A: My background is in dance. My mother is 83 and still teaching dancing five days a week. I grew up being a dancer – tap, ballet, jazz, you name it. From the time I could walk, I danced, that’s why I love music. But dancing wasn’t as popular as it is now, and I couldn’t be a dancer and support myself. So, instead of being on stage, I became the person behind the scenes or in the office. I’ve been a hard worker, but I’ve been blessed to be in the right place at the right time.

Q: How did you get started?
A: I wasn’t the kind to go to college, so I learned shorthand and secretarial skills. I didn’t want to work in the regular business world. I wanted to do something theatrical. So I started at 680 Beech St. in San Francisco, working for an independent company that booked shows in Tahoe and Vegas. That’s when I learned how to do artist contracts. Since I knew how to do contracts, that’s what I did. I did contracts for all the bands. I made my little travels from group to group, band to band.

Q: What brought you to Marin?
A: In the late ’60s and early ’70s, I lived in a house in Noe Valley with six people and dogs and cheap rent. One of the guys in the house got a job at Out of Town Tours, a booking agency for the Dead that Sam Cutler ran in Marin. They needed someone who knew how to do contracts, so I went to work for them in an office at 1330 Lincoln Ave. in San Rafael. The New Riders, the Dead and Out of Town Tours were all on the same floor.

Q: Wow. What was that like?
A: The early days were outrageous. If my parents saw where I was working and who I was surrounded by, they wouldn’t have been too thrilled. (Laughter) But there was so much freedom and so many opportunities for women. As opposed to a woman working in the straight world, you had more of a chance of making your own decisions as a woman working in the rock music business that was being created then.

Q: How did you get the job with Bill Graham?
A: I always wanted to work for the wonderful Mr. Bill Graham. So I went and interviewed and ended up going to work for him on Feb. 26, 1979. And I quit on Feb. 26, 1999. I was his secretary, but my favorite job was in the production department, the creative side of the shows. I would coordinate with the stage managers, starting with Days on the Green and going on to other large productions. I was always the person behind the desk making sure all the people did what they were supposed to do, from making laminates to making sure someone had their hotel, taking care of transportation, etc.

Q: Graham had a reputation as a fire-breathing dragon. What was it like to actually work for him that closely?
A: Even though people say he was so mean, the truth of the matter is that in all the years I spent with him, not one time did he ever raise his voice to me or be rude to me. He was very caring to the women who worked in his office. And he also gave women a chance to work. He always gave his employees the chance to do what they could do best, male or female. Basically, it was take the ball and run with it. If you can do it, great. If you can’t, step aside.

Q: It must have been terrible for you when he died.
A: It was the absolute worst. It was the closest thing to my father passing. For me, there’s not a day that goes by that I don’t think about him. He was the guru, the creator of the rock ‘n’ roll show as we know it. The best part about him was that he cared about the fans, the person going through the doors, and the artist. The patron and the artist came first, pretty much in that order.

Q: And now you work for Carlos Santana, who has a history with Graham as well.
A: He and Bill were very close. We can speak about Bill and we understand each other’s feelings. There’s that bond between us. Through Carlos I got involved in the Voices of Latin Rock. After the first year, I decided I’ve got to get involved. I thought, ‘This is fabulous. It’s like a Bill Graham thing.’ I’ve been in my usual role as the woman behind the curtain. In this show you’re seeing artists from every generation in the Latin music scene. And the money is actually going to a worthwhile cause, benefiting schools in the Bay Area dealing with autism.

Q: How does it feel to be getting this recognition from your peers?
A: I’m flattered, but I’m almost embarrassed to be honored for doing a job that was in my heart, that I’ve always loved and that I hope to stay in until the day I drop.

Tags: Carlos Santana, Rita Gentry, Women of Latin Rock

Fifth Annual Voices of Latin Rock
Awareness for Autism Benefit
The Warfield, San Francisco
January 24, 2009

Now in its fifth year, this singular evening showcased a textbook example of top tier members of Latin Rock. On stage were Malo, El Chicano, Azteca, WAR and a long overdue honoring of The Women of Latin Rock with public recognition and flowers by the evening’s chosen presenter: Carlos Santana.

In previous years Bimbo’s Nightclub provided an intimate setting to host spellbinding performances and heartfelt reunions with an array of performers and audience members alike; the aim of which was to celebrate the music while raising awareness and funds as a means of aiding those affected by autism. Adapting to increased attendance, this year the event was moved to the Warfield Theater on Market Street and once again emceed by noted Bay Area DJ, journalist, and musicologist Chuy Varela. Also present were event producers Dr. Bernardo Gonzalez, Ron Sansoe, Jeff Trager and Jim McCarthy, author of the book Voices of Latin Rock.

After opening comments by Dr. Bernardo Gonzalez, harpist Carlos Reyes was the first artist to commence the evening’s musical performances. This was followed by a loving gesture from VOLR towards some of the deep roots of Latin Rock featuring Los Cenzontles, a musical group whose performance reintroduced the rich culture of Mexico on behalf of the Los Cenzontles Mexican Arts Center.

Mr. Varela offered a special tribute honoring the passing of former VOLR alumni Jose Simon by acknowledging his life’s work and contributions as a comedian and former bassist for SAPO. Comedian Dan St. Paul performed a brief set to conclude the tribute.

Next came El Chicano featuring original members bassist Freddie Sanchez (sporting a dark suit and matching fedora exemplifying hepness incarnate), organist Bobby Espinoza on Hammond B3, timbalero Rudy Regalado and the ever-smiling Jerry Salas on guitar and vocals, augmented by two members of WAR, conguero Marcos Reyes and Sal Rodriguez on drums. Bay Area guitarist Vernon Black was second guitarist. With an energetic, short but sweet delivery El Chicano gracefully showed why they deserve their place in the pantheon of Latin Rock artists performing their hits Viva Tirado, Brown Eyed Girl and Tell Her She’s Lovely.

Led by Santana timbalero Karl Perazzo, The Voices of Latin Rock Review kicked out a sharp, tight rendition of Para Los Rumberos. This ensemble may well have executed the best live version I’ve heard in over 30 years. With the able assist of vocalists from Perazzo’s group Avance, they provided a strong new definition to the classic composed by Tito Puente. The second piece offered later in the evening was Santana’s Everybody’s Everything.

Introduced by Chuy “Horale” Varela and certainly representing the East Bay Grease contingent, soulful powerhouse Lydia Pense roared through I’m A Good Woman and Sam & Dave’s You Got Me Hummin’. Her two-song set instilled the understanding that she deserved to be honored as one of the “Women of Latin Rock” as she easily commanded the stage and crowd alike.

No Voices of Latin Rock evening would be complete without an appearance by Malo. Arcelio Garcia and son Octaviano displayed their signature choreographed stage moves while gifted guitarist Gabriel Manzo displayed precise yet fiery guitar prowess. Supported by the VOLR Review as Malo they reprised Nena and Suavecito. These chestnuts never fail to ignite all in attendance.

Carlos Santana made a special appearance to honor the Women of Latin Rock. Opening with an affectionate “Buenas Noches” after a standing ovation, he made comments in regards to post-election events and the important global role women play. He acknowledged the significance in the work of his personal assistant Rita Gentry; original Azteca member vocalist Wendy Haas; vocalist, composer and educator Linda Tillery; Cold Blood founder and vocalist Lydia Pense; and multi-faceted recording artist Sheila E.
By mentioning an historic Winterland date along with Tito Puente and Malo, Sr. Varela heralded the return of Azteca and referred to co-founders Pete Escovedo and his late brother Coke.

On the front line commencing from the left stood Wendy Haas possessing sparkling tone and remarkable vocal abilities, alongside the very soulful dignified vocalist and composer Errol Knowles, original guitarist Bill Courtial, bandleader Pete Escovedo and a true original: conguero Victor Pantoja. Complete with full horn section and keyboardist, the evening’s edition of Azteca also featured Sheila E. resuming her role as drummer working in tandem with the excellent Curtis Ohlson on bass. Special guest renowned vocalist Linda Tillery was added to the lineup on two numbers.

Performing a set comprised of: La Piedra Del Sol, Mamita Linda, Someday We’ll Get By, Non Pacem, Ain’t Got No Special Woman and others, Azteca’s performance was revelatory in the sense that it reacquainted all in attendance the level of sophistication and polish contained within their repetoire.

Thanks to the earlier efforts of filmmaker Daniel Meza, Azteca was given cause to resurface after laying dormant for more than thirty years. First reuniting two years ago on the Sunset Strip in Los Angeles as the subject of his film documentary, (released January 20, 2009 under the title La Piedra Del Sol) this was only their second public appearance since they parted ways. At that engagement original drummer Lenny White performed with the group. It was there while backstage Mr. White announced plans for a then-forthcoming highly-anticipated reunion tour of fusion greats Return to Forever.

Until recently Azteca was a missing pillar upon which Latin Rock stands and it couldn’t have been more fitting to see them perform once again in their original Bay Area home and be re-embraced within the Voices of Latin Rock community. The only notable hitch in their set was the low mic volume assigned to leader Pete Escovedo which he had to contend with. Most noticeable between tunes, it was a shame not to be able to clearly discern what appeared to be Mr. Escovedo’s truly heartfelt remembrances while not only introducing the band and discussing its legacy, but also his acknowledgment of the purpose of the benefit.

Rounding out the evening of Latin Rock legends was the equally funky yet comical WAR. Of the original group only vocalist/keyboardist Lonnie Jordan remains. As composer and bandleader he continues to man the helm of a collective band of highly-skilled and talented musicians able to spontaneously stop and turn on a dime to deal with the evolving musical arrangements of the moment.
Having no lead vocal mic issues and with his stage antics brought to the fore, Jordan “Delivered the Word” continuously so to speak while performing such classics as: Cisco Kid, Me and Baby Brother, Spill the Wine, All Day Music, Ballero, So, Why Can’t We Be Friends and doing a group introduction/medley within the context of Low Rider, i.e. Shotgun-Iron Man-Gypsy Queen-Doing It To Death-I Want to Take You Higher (the latter featuring original Sly and The Family Stone drummer Greg Errico).

The Fifth Annual Voices of Latin Rock succeeded once again in raising awareness of autism in a manner that honored its seminal members while providing stellar entertainment. With each succeeding year the only competition Voices of Latin Rock has is with itself.

Oscar Moreno,
Latin Rock Inc.

Tags: Azteca, Latin Rock Inc, Lonnie Jordan, Oscar Moreno, Pete Escovedo, Sheila E, VOICES OF LATIN ROCK 5

Thursday, January 29, 2009
By LOUISA HUFSTADER
Register Correspondent
Robert Gastelum, a 24-year-old trumpeter from St. Helena, has played with some pretty big names during his young career, including Jorge Santana and Little Joe and the Familia.
But he had never faced an audience as wild with excitement as he did at the Warfield in San Francisco Jan. 24, when Gastelum found himself on stage with maestro Carlos Santana as an army of photographers rushed the stage amid roof-raising cheers from the crowd.
As it happened, neither musician had his instrument in hand: Santana was making a surprise speaking appearance to honor five Bay Area women for their contributions to Latin rock, while Gastelum — who had started the evening playing music for tips in the theater lobby — was carrying a massive bouquet of roses.
But that didn’t diminish the impact of the moment for Gastelum, who had never seen the pioneering guitarist in person.
“I was kind of star-struck a little bit,” he said. “I had never seen him in the flesh. Wow.”
After a while, though, as Santana delivered his remarks from index cards, Gastelum began to relax, thinking “he’s a musician, and so am I: We have something in common.”
Not only did Gastelum share the stage with the artist whose early hit albums opened the way for Latin rock to thrive in the 1970s, the Napa Valley native had insider status at the fifth annual “Voices of Latin Rock” benefit for autism awareness that night.
Also in the audience were his parents, Bobby and Irene, and other members of the musical Gastelum family, including aunts Tina and Veronica. Long-time fans of the groups topping the bill, War, Azteca and El Chicano, the older Gastelums — whose own group is called 707 — beamed with delight as the bands they have loved for decades took the stage.
“Growing up here in the valley, going to school here in the valley, I grew up with the music,” said Veronica Gastelum, who sings with 707. “And my brothers — we all grew up listening to their music, and I feel like it inspired them.”
El Chicano, whose original members have been playing together since the 1960s, was the first Mexican-American group to play the fabled Apollo Theater in Harlem nearly 40 years ago. With three percussionists — including 48-year-old Napa resident Marcos Reyes, who also plays with War — and organist Bobby Espinoza, their groove was instantaneous and irresistible as they thrilled the Warfield audience with their early hits “Tell Her She’s Lovely” and Van Morrison’s “Brown-eyed Girl.”
More musicians came out to play during the Voices of Latin Rock Revue segment, with percussionist Karl Perazzo presiding as original Malo members Gabriel Manzo and Arcelio Garcia, with Garcia’s son Octavio, romped through “Bailar y bugalu” and the massive radio hit “Suavecito,” with the younger Garcia singing the lead originated by songwriter Richard Bean (who sang it for the Napa audience at last year’s Lincoln show).
East Bay singer Lydia Pense, of the longtime group Cold Blood, showed her blues roots in a passionately soulful guest appearance before returning to the stage to accept her honor as a “woman in Latin Rock.”
Also accepting the honor from Santana were singers Linda Tillery and Wendy Haas, drummer Sheila E. and Rita Gentry, Santana’s executive assistant and formerly a longtime employee of the late rock impresario Bill Graham.
After Santana’s heartfelt remarks to the honorees, the concert continued with even more firepower on stage.
Azteca, initially a splinter group of former Santana band members, became a Bay Area sensation in the 1970s with its big sound that embraced both Latin rock and modern jazz. Co-founder Coke Escovedo died in 1986, but his 73-year-old brother, Pete, reassembled the band for a documentary film two years ago.
The Azteca line-up at the Warfield included Escovedo on timbales; his daughter, Sheila E., on drum kit and Victor Pantoja on congas, along with a tight four-man horn section and original vocalists Wendy Haas and Errol Knowles. Tillery also joined in on vocals.
Sheila E., famous for her percussion work with Prince and her 1984 hit “The Glamorous Life,” was a woman to watch on trap drums, playing with gusto and rock-solid timing.
Finally, to an ecstatic reception from the crowd, War arrived on stage and launched straight into the tick-tock rhythm and wah-wah guitar of “Cisco Kid.” Within a few notes, there was dancing in the balconies and on the theater floor as a sweetish, smoky odor reminiscent of the 1970s began to trickle through the air.
Frontman/organist Lonnie Jordan, 60, was a man in perpetual motion, cracking jokes and reminiscing just enough to move the show along. He sang “Spill the Wine,” which — with the lead vocal by Eric Burdon — was the group’s first chart hit, in 1970; he led a doo-wop harmony introduction to “Why Can’t We Be Friends,” and rocked out on a super-funky “Low Rider,” with solo space galore for every member of the band.
By the end of the night, the stage was crowded with people — that was Sly Stone drummer Greg Errico shaking a tambourine tossed to him by Reyes — and the audience was on its feet for War and all the other Latin rock pioneers.
“To this day, they haven’t lost their touch,” said Veronica Gastelum. “They sound just as good as they did back then.”
Her sister Tina agreed: “They don’t change,” she said. “Thirty-five years later they’re still playing music, and now they’re playing benefits.”
Proceeds from the Jan. 24 concert will benefit Bay Area schools that serve children with autism, according to organizer Dr. Bernie Gonzalez.

Tags: Carlos Santana, children with autism, Dr. Bernie Gonzalez, Robert Gastelum, Voices of Latin Rock

We are still reeling from the Latin Rock extravaganza at the Warfield but we have a special show coming up for Valentines Day. Richard Bean and Sapo come to the Little Fox for a special Valentines Day show.
Richard Bean is the writer and singer of the Chicano Nation love song, “Suavecito”. Often imitated but never duplicated, this is the original. We also will have a guest appearance by Raul Rekow of Santana.
Also on the bill will be Blanca to perform her melodies of original and traditional songs. Blanca has been on the stage with Sisters Morales, Salvador Santana Band and La Ventana in the recent past.
Please call about special ticket prices for this show through Latin Rock, Inc. and please join us for this special show from Dr Rock and Latin Rock, Inc.
Also if you have a chance, Malo will be at Cache Creek for a special Valentine’s / Presidents Day show.

Feb 14 – Little Fox – Valentine’s Party w/ Richard Bean & Sapo w/ Blanca
Feb 15 – Cache Creek w/ Malo
Feb 28 – Club Liquid – w/ La Ventana & Caravanserai
March 13 – Avalon w/ Johnny Polanco & Latin Rhythm Boyz
March 14 – Rocapulco w/ Johnny Polanco & Latin Rhythm Boyz

Tags: Fox Theater, Richard Bean, Sapo

Here is just one of the many photos taken the night of the show. We are putting together a complete gallery, so signup for our mailing list and we’ll notify you as soon as it is available. Thanks to all for their generous support!

Tags: Carlos Santana, Linda Tillery, Shiela E