Young’ double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. In the acknowledgement section of Coltrane’s “A Love Supreme,” which opens the album, Young creates a channel between Santana’s riotous, transcendent, melodic runs and McLaughlin’s rapid-fire machine-gun riffing.

He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young’s aggressive approach to keep the entire proceeding in the air. But it is the presence of the revolutionary jazz organist Larry Young - a colleague of McLaughlin’s in Tony Williams’ Lifetime band - that makes the entire project gel. The assembled band included members of Santana’s band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. With the exception of Coltrane’s “Naima” and McLaughlin’s “Meditation,” this album consists of merely three extended guitar jams played on the spiritual ecstasy tip - both men were devotees of guru Shri Chinmoy at the time. To hear this recording in the context of not only Carlos Santana’s development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians - McLaughlin, of course, was a former Davis sideman - this extension makes perfect sense in the post-Sonic Youth, post-rock era.

Mobile Fidelity Sound Lab # UDSACD 2080 | Genre:RockĪ hopelessly misunderstood record in its time by Santana fans - they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration - it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. Or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 905 MB Carlos Santana and John McLaughlin – Love Devotion Surrender (1973)

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