Roy Murray

Roy Murray

How did the original horn player of Malo come from Philadelphia and wind up in the mission district and the Haight Ashbury of San Francisco in 1969? Then in 1971 help to give birth to one of the most influential groups in the history of Latin Rock only to vanish from that scene for over 35 years? But now with the advent and impact of VOLR some new dots can finally be connected.

It’s really pretty simple and starts back in Philadelphia where I went to a music school that was for the average kids, not the geniuses, Combs College of Music. But even so the Alumni included John Coltrane, Leopold Stokowski, Jan Peerce, Romeo Cascarino, Reinhardt, Casadesus, Mischa Elman and so many other giants in the field of music. Not being a “corporate” school, individual skills and quirks were readily honed. Roy Murray quickly fell in with that.

Steve Busfield had gone to Combs also. He left to go to San Francisco in 1968 to put a flower in his hair and the times were a changing – A new way of playing music had emerged. He right away was in the Loading Zone, then Azteca and later Buddy Miles for two years, plus many others.

In Philly we had played in a group together called the Motivations – a black soul review. Steve Busfield was on guitar, Alfonso Johnson on bass (Santana and Weather Report), Linda Creed on vocals (she co-wrote 10 top ten hits), Roy Murray on trumpet (Naked Lunch and Malo), Duane Hitchings on keyboard (Rod Stewart and Heart) plus several others. But it was Steve who greatly urged and influenced me and later Alfonso Johnson to come on out. “The scene” would well be worth the move.

I arrived as a multi horn player. This was going to serve me very well. My music teacher Len Pierro Jr. and Doc. Donald S. Reinhardt (from Combs & Curtis Institute of Music) all helped me to develop an embouchure that actually could switch between brass and reeds. That was rare… but it was my passion, and I was able to do it. Influenced by Coltrane, Miles, the brass men of Kenton, and many classical composers I was ready for “the scene.”

First band up I joined was the Western Addition – nope, not country music. That was the San Francisco version of a ghetto and Sly Stone territory. It was funk, R&B, soul groups. We did Sly Stone of course, but also James Brown and the just released album of Chicago, plus some originals. Future members of Elvin Bishop, Cold Blood, Boz Skaggs, Santana were all in this group and who sang lead?… Wendy Haas (Azteca, Santana etc.) What a time this was – my first San Francisco band. We performed a lot and did a lot of gigs in San Francisco and Los Angeles, but it was really a learning process.

Roy Murray

Roy Murray

Wendy was awesome!! What a vocal talent… but it was hers and our stage presence. All of us – we were all kinetic – none of us could stop strutting. With Wendy leading the way, what we did lack in originally really didn’t seem to matter. Watching us was something everybody did. Need I say anything more? We were young and wild!!!

We gigged but the profit was low – hence I took a house band gig at the Nite Life with a wild acid Central American rock group called The Aliens (El Salvador and Nicaragua). Six nights a week: 5 hours a night. I replaced Chepito. Now how many horn players can say they replaced one of the world’s greatest timbale players? Here’s what happened.

Chepito was playing some trumpet as well as percussion, drums, etc. with the Aliens for many years. The Aliens liked the idea of replacing him with a full time trumpet player. There was already a sax player in the group, so I stayed on trumpet.

The music they played, unreal. Never saw anything like it. Straight up rock to top 40 hits to a slow ballad. Then onto a 20 minute jam on just one song, next into a cumbia, but then they would go into some real pulsating driving Latin Rock. Undoubtedly some of the very first of it’s kind!! Then onto a polka, well not really – but with that group who knows. The versatility was amazing – William (Guillermo) Coronado (founder with his brother Michael) even threw in some vibraphone Cal Tjader stuff. Meanwhile Carlos from the Santana Blues Band would come in to check out this timbalero Chepito and took him away as they shortly there afterwards became Santana.

The line up of personnel for this highly influential band was: Frank Zavala-lead vocal, Bernie Peoples-bass, Oscar Calderon-drums, Cliff Anderson-congas, Charlie Elks-flute and sax, Michael Coronado-guitar, and William Coronado-keyboards and vibraphone. (Also see previous VOLR post on this site “Memories of the Aliens”).

I started out great, very strong. My beautiful trompeta sound did them well. It was my first house band gig. But I didn’t know how to “pace” myself – I died. I couldn’t even hold my arms up to blow through my horn two months later. I didn’t do drugs or drink, but i also wasn’t eating right. I lost my strength. We had to part company. But also, I wasn’t a real Latin trumpet player – Very creative and inventive – but not the real Latin deal. That would show up again in the future when I was in Malo.

But we can’t leave this until we have at least one Jose (Chepito) Areas story. The whole world wants a Chepito story!!

Roy Murray

Roy Murray

One night we’re all playing at the Nite Life and this little guy with more hair on his head than Dougie Rauch walks in, and in one of those Latino languages starts yelling at the band telling ‘em what to do. Next thing I know, he’s onstage with us playing all kinds of percussion. I’m clueless. Finally he steps down. I think he’s still trying to tell the band how to do it all. Who was it??….It was the first time anyone ever saw Chepito with an Afro!! It was a learning curve for me!!

Next came several bands at once. Stuff, Stone Creation (I was the founder) and doing gigs with several guys who would become Azteca. Some were just pick up gigs and others just 2 or 3 weeks. In the band Stuff was future Tower of Power lead vocalist Rick Stevens. But more on him and much more on Him later.

But one night, yes, one night I walked into a jam at the Children of Mu’s commune in the Haight-Ashbury – And my life would never be the same. Abel Zarate and Naked Lunch. I found Myself!! Total dedication to it. Robert (Bob) Olivera on sax. We were the hippie, trippie, psychedelic horn section. No “tight stuff” for us. But on occasion we were. But we were unreal – The whole band amazed people – Bill Graham signed us – John Walker (It’s a Beautiful Day) became our manager. We played Fillmore and every other main venue in the Bay area. After a concert on 9/16/70 we did with Boz Skaggs, Elvin Bishop, Tower of Power and Victoria, Tom Campell wrote in the S.F.Examiner that “Naked Lunch isn’t a sandwich without bread. It’s a superior rock band – music scene habitués call the group heavy “– Finally, 40 years later some of our music got released this past Jan. See the VOLR review of it from 4/5/09 on this site. It is well worth it for anyone to listen to. Naked Lunch went on for a year and a half, but Malo was up next. Me (Roy Murray), Richard Spremich, and Abel Zarate joined up with Pablo, Jorge, R. Bean & Arcelio in their newly named group Malo (formerly the Malibus). It was electric – Not too many people ever heard this eclectic seven performers along with Coke, Kermode, Pantoja, and Gasca before it’s demise. It truly was one of a kind. In my opinion, it was one of the greatest bands in the world… if it would have stayed together. Abel Zarate & Jorge Santana…there’ll never be, and hasn’t been something like that in music again! And as to the personnel that followed the original recording Malo cast…unbelievable! Raul & Leo replaced Coke & Victor Pantoja. The horn players that followed me…unreal. Tom Harrell, Forrest Buchtel, Hadley Caliman, etc. etc.

So as not to repeat info and passages from the Voices of Latin Rock book I’ll just give some very specialized insights into the horn playing which me and Luis Gasca did on that first album.

I wrote all the horn parts before Luis Gasca arrived (but also had some help from Zarate and the rest of the guys). Luis came in and added the desperately needed and so obvious… the Latin Trompeta fire parts. That would never come from me, the hippie. But what did come out of me was unique and even stands to this day as some of their most enduring horn lines. Little did I or any of us know that would be the case.

But first I have to back up when Naked Lunch had raged through San Francisco and the greather Bay area. We were definitely on the “cutting edge” of the times. A cross between early Chicago and early Santana. (Santana had not yet released its first album when we wrote that music). We were on our way to the top (as the phrase goes) then one day I get a phone call. It was our new manager John Walker – Bill Graham and the Fillmore Corporation was dropping us (because of business, not music.) That devastated us!! We couldn’t recover from it. Soon the Malibus/Malo began talking to us. Chris Wong (Malo manager) had already been talking to Abel Zarate. But I was the first official Naked Lunch member in. Then Abel, then Richard Spremich. We all jelled very quickly and worked extremely hard and well together. The ideas were flying every which way and from everybody. Luis Gasca, Richard Kermode, Coke Escovedo and Victor Pantoja all got on board in time to record the first album.

Roy Murray

Roy Murray

Now, to the horns –
Because there was never a rehearsal between me and Luis, there were no harmony horn parts. I showed Luis all the parts I wrote. I did this in the recording studio and then he added his things on top of that. It was perfect. And I mean perfect! But Dave Rubinson (the producer) said we were going to double the horn parts to fatten them up, since there was no harmony, plus over dubbing other parts, plus all the original lines and solos and fills. That’s a lot of work and time. In the doubling of the parts suddenly 2 horns become 4 – throw in a dub or two and you’ve got 6 trumpets or so. Nobody knew this – except us doing it. That’s how Luis and I get this incredible fat and very lively sound for just two horns!! It worked out great. However, as people came and went in and out of the studio it appeared I (Murray) was screwing up causing extra takes as nobody, and I mean nobody understood what was going on in the studio at those times in regards to the recording of the horns. It all appeared like I needed extra takes on everything, when that wasn’t the case at all.


I am the only horn player on that song. Luis Gasca does not even play on it. And as usual I did it all in one take. To my knowledge I’m one of the very few horn players, if any others, to have a trombone solo and trumpet solo in a top 20 hit. Abel Zarate wrote the trombone solo for me in the intro. I wrote and played the trumpet solos in the background which really helped to give a very distinctive push to the song and launch the Malo identity with horns ‘round the world. I couldn’t play the true Latin fills, but man I could play. And no horn player would write horn lines the way I did. Yes, Suavecito is kinda “bubble gum” – but you listen to what each musician brought to that song and you realize what a little masterpiece it is. It was truly a group effort with outstanding individual work!! Often called the Chicano National Anthem.

One quick footnote to the recording of my trumpet part. Fred Catero was the engineer – He was also the engineer for Santana, Janis Joplin, Chicago, Blood Sweat & Tears, etc. – He already knew very well how to record horns – Thank God, because that really helped us. After recording my trombone solo intro line in the studio, Fred saw I wasn’t playing anything while the first verse was being recorded. So he turned my mic off. As I put the trumpet to my lips to get ready to do my part in verse two he knew my mic was off and literally dove across the room and sound board to get it on in the nick of time – thank God he got it on. I said to myself – everything is all right and proceeded to play my heart out as I followed Richard Bean’s fantastic perfect pop vocal. And the rest is history.


I wrote all the horn lines on that too. I recorded trumpet, trombone, and flute on that song. Luis, of course, played trumpet.
All in all, I wrote about 15 parts on that first Malo album – but not enough to be a song writer of any. Such was the fate of many horn players.
On the album I play flute, trumpet, trombone and sax. Not many horn players can do that on their 1st major recording session in life. I did fantastic. But the “Malo musical-go-round” was already flying. And suddenly I’m on the outside and totally forgotten about while for 40 years everybody imitates and plays what I wrote. How did it happen??

As Chris Wong the manager said it took three horn players to replace me. A trumpet, sax and trombone. The one man or two man horn section of Malo suddenly became three because of me. They had to have all my sounds live on stage. So who were some of these horn players that took my place? The guy who literally took my place on a one to one basis was Tom Harrell. Voted by the critics of Down Beat Magazine as the greatest improvising trumpet player. Another guy quickly in was Forrest Buchtel – who has a mouthpiece named after him for hitting high notes. Hadily Caliman from Janis Joplin, and many others, on sax and various great trombone players.

Well, no wonder Arcelio and the boys never missed me. It was good riddance Murray. Those guys came in and changed the music dramatically and took the horns in a whole different direction. It was fantastic. Great stuff… but as the fame of Malo goes on for almost 40 years now, Murray’s horn lines (both the writing and playing of them) continues to be a strong contribution to that. Listen to the streamers of Pana, Suavecito and Nena – their three most popular songs – there I am over & over. I wish I could have gotten a chance to write some more horn lines for them. My radio friendly stuff and their serious jazz stuff combined… well in my opinion, it would have been one of the greatest combinations in pop music history!!

After Malo, Abel Zarate and I and Naked Lunch sax player Bob Olivera formed Banda de Jesus also with Hutch Hutchinson on bass (played with Bonne Rait for 30 years and many, many others), Roger Alves on drums (from Abel & the Prophets ..see VOLR book p.50 & 161) and Ron Freitas on Hammond B3 organ. Dave Rubinson and Fred Catero did our demo. Big time was coming up once again – But once again, it didn’t come. (See the Naked Lunch CD for a few tracks.) We didn’t gig – We never made the scene – Just continually wrote new music with a very forward sounding set up. We went in a totally different direction from Malo. Really combining pop & progressive in a new way. Though inking several deals came close, but close doesn’t count. We all splintered off into bands that were touring, regardless of what their recording potential was. I went with Andy Kandanes and the Mendocino All-Stars. I left San Francisco never knowing I was never to return.

The All-Stars gave me what I needed bad. Paying gigs for 3 ½ years. Plus fabulous on the road experiences. I loved it!! I brought Abel Zarate, Hutch Hutchison, Robert Olivera and a few others on for a couple of tours every now and then. Other members of the band were from the Sons of Champlin, Tina Turner, Patti LaBelle, The Byrds, Naked Lunch, Malo, War, B.B. King, Janis Joplin, Elvin Bishop, Lenny (Monster Mash) Capizzi – The members came from all over. Even Joe Satriani himself played in it for awhile. I really enjoyed the Redwood forest of Mendocino immensely. But after one long Candian tour Andy wanted to take a break. I went back East to visit family. And this time, I never knew I was never coming back to California.
These were the days of no cell phones or e-mail and 100% living on the road as I did, no place to even get mail. I lost 100% total contact with Naked Lunch & Malo. Plus my non-ending musical career would take me in many new directions, and it is still going very strong today (but in the form of music ministry).

Thirty-five years would go by before ever seeing anyone from that San Francisco experience. Finally, I briefly visited a VOLR (the first book launch party- Jim) in 2005 and saw everyone for a few good moments and laughs & smiles. But several of us have passed on. Time marches on. I really treasured seeing everyone one more time!!

Music is all that I do. It is the only thing I will do. I am a classically trained Rock n’ Roller who now plays in church. I don’t play in bands anymore, but I perform or teach music in some way everyday.

Coke Escovedo, Victor Pantoja, Abel Zarate, Alfonso Johnson, Malo was #1, and Rick Stevens. A few lines on each:

1. Coke & Victor – How could anybody be in a band that had both Coke & Victor in it? (Malo & Azteca) And they’re replaced in Malo by Raul & Leo. Is such a thing possible? Yes, what good fortune that brought to

Malo. I will never, ever forget watching Coke & Victor record their parts on that first album.

Coke played like he knew everything about our music, but he never heard it before!!

Victor was busy playing away – got up, left… got a drink of water, returned – never missed a beat. While the tapes were rolling. These guys were like supernatural.

2) Abel Zarate – He was fiercely independent and was ravenous about the value of melody. The creation of beauty is the responsibility of an artist. Abel’s music values are all over the album. As one of the few human beings alive to hear Abel Zarate and Jorge Santana play together (and the very first horn player to put his mark on it) it was beyond anyone’s imagination as to how great it really was. With those two and Arcelio and Pablo and the rest of us, we all knew there was no end to the style and music we were creating… but it wasn’t to be.

3) Alfonso – Back in 1968 Philadelphia the Motivations were having a rehearsal. Steve Busfield walked in with a record nobody ever even heard of and said we should learn some song off it. For the next 30 minutes we all go to a different corner of the rehearsal hall and learn our parts while someone keeps playing the record over and over. But Alfonso sits on the couch doing nothing. Finally as we all near knowing our parts, the leader says – Alfonso, will you get up and go learn your part. (we called him “string bean”) Alfonso smiles, stands up, does some kinda’ south Philly strut, walks over to his bass, picks it up, and proceeds to play his part perfect – note for note on the 1st try. We all stood there speechless. Then we all smiled and laughed with him. He was grinning ear to ear. It was great!! When Carlos Santana said in the liner notes of his “Blues for Salvador” that two of the tracks are a testimony to the spontaneity of “One take Johnson”… I understood!!

4) Malo was #1… and nobody knows it. If they do – there hasn’t been much talk about it. Well, here goes.

Malo’s first album (the one I did) hit #14 on the charts and Suavecito #18 as a single – Not bad, but both would have gone much higher if it wasn’t for a snafu by Warner Bros. Would anyone ever ‘fess up to it? Here’s what happened.

Bands like Naked Lunch & Malo and a few others that were destined for Bill Graham’s Corporation all had one thing in common. At various times they all needed a place to rehearse. So Dave Rubinson and Bill gave up office space in their complex for that purpose. That’s how serious all this was. But only one person would have a key in those bands – that was me. I was trustworthy. I over heard stuff. But the one that rings in my mind, even to this day was when I was in Rubinson’s office talking to him about something. He went out to the reception area and I heard him say the following. When the President of Warner Bros. Records flew into New York and by far his most important and immediate mission was when the plane landed, he immediately marched into Warner Bros. headquarters and bellowed and gave the command to release Malo’s album NOW. Immediately – For it already had been released two weeks earlier on the west coast and was hitting the charts.

Well, what does this all mean?

If both the East Coast and West Coast had released Malo & Suavecito at the same time, both the album and single would have been much higher up the charts.
Aside from how that would have affected things then – it even affects things now. Both the album and single would have surely hit the top 10 – putting it into all those years & decades of those top ten lists of moldy oldies etc. but, instead it’s not there in all those media things. That is a lot of pizzazz lost. In my mind if both coasts would have released simultaneously it would have hit #1!!!

5) Rick Stevens and the “what if’s” and some other Gospel stuff. Aside from all the bands previously mentioned, I still got invitations to join others or to record with them. Van Morrison, Copperhead (Quicksilver Messenger Service), Several R&B groups in San Francisco, Jerry Miller (a few years after Moby Grape) etc. etc.

After the Aliens and before forming Stone Creation I very briefly played in a band called Stuff. Guess who sang in it? Rick Stevens. (If it wasn’t Stuff, then it was one with very similar circumstances and even rehearsal location that we played in together playing pick up gigs or top 40 covers in topless bars on Broadway in S.F.) I thought he was tremendous!! I tried to do some booking for Stuff, but did not succeed. Money was pressing and the group was going splinter – Rick suggested we should form a band together. After all, a trumpet and his voice worked extremely well together (“Your still a young man”) – It wasn’t long and I joined into Naked Lunch and then later Malo. He joined into Tower of Power. I think both of us found what we were looking for. A sound and a style to totally dedicate our talents too. That’s why I didn’t want to be playing in multiple bands. I wanted one band that could say it all!! But what if I hung with him a bit. Would I have auditioned for TOP or would I have invited him into Naked Lunch? If so, how different a lot of things would have been. Even after Malo when Richard Bean asked me to record with him and his group Sapo (After all, my trumpet and his voice worked extremely well together too – “Suavecito”) Again, how I wish I could have found the time – but I was too far away being on the road with the All-Stars.

I would love to write about some of the other bands i did on the East Coast as well like “Ralph – the Rock Orchestra” produced by Don Costa and many others. But that’s out of the confines and printability of this interview.


So what’s important about all of this?
Musically and socially, a lot. But there’s a bigger picture. All those years of being on the road and travel did a lot for me. It was fantastic!! But I was lost! I didn’t know that until I met these people who called themselves “Christians.” They called themselves that for following Jesus Christ. I totally reject evolution or that we are products from Outer Space. We have a creator and redeemer. Jesus Christ, our Lord and Saviour. I never touched a Bible until I was 39 yrs old. Man did not write it. God wrote it through man and don’t let the translation problems confuse you, the message is clear…Christ crucified for us. Exceptions, none. Yes, all!!
And all even means Rick Stevens who is currently serving double life sentences, or anyone else. I don’t know if Rick would even remember me. But the life of Christ is not a game. God sent His only begotten son to earth to be one of us. God gave us free will – you know what happened. Christ was crucified. He held back legions of angels ready to attack – He said dying on the cross would be payment by Him for your sins if you accept this greatest gift of Love ever given. I’ve heard that Rick has accepted Christ. I only knew Rick but for a very brief moment, but I will now know him for all eternity when we all get there because this is the blood of God that washes away all sin. Our Reedemer lives; there is nothing more that I believe in!!

In closing I’d like to quote some lyrics from the closing song on MALO’s first album. “Peace”

There was a man who lived who said,
he said, love your brother and kiss your enemy.
He’s dead – they hung him, they hung him,
nailed Him to a cross, they hung him –
Peace all through the nations.

I hope some dots have been connected.
Roy Murray
Trumpet d’Amor
“Brass of Peace”

Appendix A

Naked Lunch:
Abel Zarate-lead guitar & lead vocals, Rick Tiffer and Charles Fletcher-bass, Ludwig (Fist) Stephens-C3 Hammond organ, Jose Marrero-congas, Richard Spremich-drums, Robert (Bob) Olivera-sax & background vocals, Roy Murray-trumpet.

Western Addition;
Ross-bass, Bill-guitar, Greg-drums, mike-trombone, John Celona-sax, Roy Murray-trumpet, Wendy Haas, vocals & organ.

The Loading Zone:
Paul Fauerso-organ,piano,vocal; Steve Busfield-guiter,vocal; Ron Taormina- alto & baritone sax; Patrick O’Hara- trombone, French.horn; Mike Eggleston-bass; George Marsh- drums & percussion.
Footnote: This too was quite a very interesting group because of its many styles. When I arrived in S.F. (1969) Steve took me with him to my very first S.F. gig – The Loading Zone. They made the 3000-mile drive worth it!! Linda Tillery (Sweet Linda Devine) had already left the group to go on her own. Later on I got to play with her for just one night. Pretty sweet!! But what’s also interesting here for those who wish to be thorough is that for the above personnel for the album “one for all” on Umbrella Records their engineer was a little known Columbia Records staff person named Brent Dangerfield who got just a matter of fact working assignment – Santana’s first album! (Wow!) Later in life when I was with the All-Stars we’d play a club called The Orphanage (a pretty happening place) – but we’d crash at Brent’s apartment as he was working with us on our sound. It was pretty extreme fun in sound engineering adventures.

Premier of Azteca:
Friday, June 16th – Kabuki Theater (S.F.) – also appearing: Gabor Szabo

Timbales- Coke Escovedo, Drums- Michael Shrieve, Congas- Victor Pantoja, Bongos- Armando Perraza, Guitars- Steve Busfield & Neal Schon, Bass- Paul Jackson, Horns- Mel Martin, Tom Harrell, Bob Ferreira, & Jules Rowell, Keyboards-George Diquattro, Flip Nunez & George Muribus, Vocals- Rico Reyes, Pete Escovedo, Wendy Haas & Errol Knowles.

A majorly big thanks to Roy Murray for answering questions on all the above, it is really good to get the experiences and views of people who did not make the VOICES book for a variety of reasons, be it time, unavailability, deadlines etc.

Thanks again Roy- your input is greatly valued amigo!
Jim McCarthy
August 2009

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Singled Out Classics: Black Magic Woman


(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.

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