Finely embroidered cope, Saint Bavo Cathedral, Ghent, 15th century. Note the shield-shaped "hood".

The cope (known in Latin as pluviale 'rain coat' or cappa 'cape') is a liturgical vestment, more precisely a long mantle or cloak, open in front and fastened at the breast with a band or clasp. It may be of any liturgical colour.

A cope may be worn by any rank of the clergy, and also by lay ministers in certain circumstances. If worn by a bishop, it is generally accompanied by a mitre. The clasp, which is often highly ornamented, is called a morse.

History[link]

There has been little change in the character of the vestment from the earliest ages. Then as now it was made of a piece of silk or other cloth of semicircular shape, which distinguished it from the earlier form of chasuble, as a chasuble had straight edges sewn together in front. Both are similar in form and origin to the Orthodox phelonion.

The only noticeable modification which the cope has undergone lies in the disappearance of the hood. Some early examples feature a triangular hood, which was intended to be of practical utility in covering the head in processions, etc., but over time the hood became merely ornamental, and is commonly represented by a sort of shield of embroidery, sometimes adorned with a fringe or tassel. The fact that in many early chasubles, as depicted in the drawings of the eighth and ninth centuries, we see clear traces of a primitive hood, strongly confirms the view that in their origin cope and chasuble were identical, the chasuble being only a cope with its edges sewn together.

The earliest mention of a cappa is by St. Gregory of Tours, and in the Miracula of St. Furseus where it seems to mean a cloak with a hood. So from a letter written in 787 by Theodemar, Benedictine Abbot of Monte Cassino, in answer to a question of Charlemagne about the dress of the monk^[1] we learn that what in Gaul was styled cuculla (cowl) was known to the Cassinese monks as cappa. Moreover the word occurs more than once in Alcuin's correspondence, apparently as denoting a garment for everyday wear. When Alcuin twice observes about a casula which was sent him, that he meant to wear it always at Mass, we may probably infer that such garments at this date were not distinctively liturgical owing to anything in their material or construction, but that they were set aside for the use of the altar at the choice of the owner, who might equally well have used them as part of his ordinary attire. In the case of the chasuble the process of liturgical specialization, was completed at a comparatively early date, and before the end of the ninth century the maker of a casula probably knew quite well in most cases whether he intended his handiwork for a Mass vestment or for an everyday outer garment. But in the case of a cappa or cope, this period of specialization seems to have been delayed until much later. The two hundred cappae or copes which appear in a Saint-Riquier inventory in the year 801, a number increased to 377 by the year 831, were thought to be mere cloaks, for the most part of rude material and destined for common wear. It may be that their use in choir was believed to add to the decorum and solemnity of the Divine Office, especially in the winter season. In 831 one of the Saint-Riquier copes is specially mentioned as being of chestnut colour and embroidered with gold. This, no doubt, implies use by a dignitary, but it does not prove that it was as yet regarded as a sacred vestment. In fact, according to the conclusions of Mr. Edmund Bishop, who was the first to sift the evidence thoroughly, it was not until the twelfth century that the cope, made of rich material, was in general use in the ceremonies of the Church, at which time it had come to be regarded as the special vestment of cantors.^[2] Still, an ornamental cope was even then considered a vestment that might be used by any member of the clergy from the highest to the lowest, in fact even by one who was only about to be tonsured.

Amongst monks it was the practice to vest the whole community, except the celebrant and the sacred ministers who assisted the celebrant, in copes at High Mass on the greatest festivals, whereas on feasts of somewhat lower grade, the community were usually vested in albs. In this movement the Netherlands, France, and Germany had taken the lead, as we learn from extant inventories. For example, already in 870, in the Abbey of Saint Trond we find "thirty-three precious copes of silk" as against only twelve chasubles, and it was clearly the Cluny practice in the latter part of the tenth century to vest all the monks in copes during high Mass on the great feasts, though in England the regulations of Saint Dunstan and Saint Aethelwold show no signs of any such observance. The custom spread to the secular canons of such cathedrals as Rouen, and cantors nearly everywhere used copes of silk as their own peculiar adornment in the exercise of their functions.

Meanwhile the old cappa nigra (black cape), or cappa choralis, a choir cape of black material, open or partly open in front, and commonly provided with a functioning hood, still continued in use. While the cope was a liturgical vestment, made of rich, colorful fabric and often highly decorated, the cappa nigra was a practical garment, made of heavy plain black wool and designed to provide warmth in cold weather. Whereas the cope's hood had long since become a non-functional decorative item, the hood of the cappa nigra remained functional. The cappa nigra (black cape) was worn at the Divine Office by the clergy of cathedral and collegiate churches and also by many religious, as, for example, it is retained by the Dominicans during the winter months down to the present day. No doubt the "copes" of the friars, to which so many references in the Wycliffite literature and in the writings of Chaucer and Langland are found, designate their open mantles, which were, we may say, part of their full dress, though not always black in colour. On the other hand it is worth a note that the cappa clausa, or close cope, was simply a cope or cape sewn up in front for common outdoor use. "The wearing of this", says Mr. Bishop,^[3] "instead of the cappa scissa, the same cope not sewn up, is again and again enjoined on the clergy by synods and statutes during the late Middle Ages."

Roman Catholic Church[link]

A modern cope, worn with a mitre by the Most Rev. Rogier Joseph Vangheluwe, former Bishop of Bruges.

Under all these different forms the cope has not substantially changed its character or shape. The cope is a vestment for processions worn by all ranks of the clergy when assisting at a liturgical function, but it is never worn by the priest and his sacred ministers in celebrating the Mass. At a Pontifical High Mass the cope was worn by the "assistant priest," a priest who assists the bishop who is the actual celebrant. In the Sarum Rite, the Cope was also prescribed for members of the choir at various times.

It is now the vestment assigned to the celebrant, whether priest or bishop, for almost all functions except the Mass when the chasuble is worn by the celebrant instead. The cope is used, for example, in processions, in the greater blessings and consecrations, at the solemnly celebrated Liturgy of the Hours, in giving Benediction of the Blessed Sacrament, and the celebration of other sacraments outside of Mass. For most of these the celebrant may instead wear simply cassock and surplice or alb, both with the stole, for simpler celebrations. The chasuble, which is properly only worn for Mass, may also be worn during processions and other ceremonies that occur directly before or after Mass, such as the absolutions and burial of the dead, at the Asperges before Mass, and at the blessing and imposition of the ashes on Ash Wednesday, to avoid the need for the celebrant to change vestments.

The Cæremoniale Episcoporum envisages its use by a bishop if presiding at but not celebrating Mass, for the Liturgy of the Hours, for processions, at the special ceremonies on the Feast of the Presentation of the Lord, Lenten gatherings modelled on the "stations" in Rome, Palm Sunday and Corpus Christi. The bishop may use a cope when celebrating outside of Mass the sacraments of baptism, confirmation, matrimony, penance in solemn form, ordination (if not concelebrating), and anointing of the sick. The list in the index of the Cæremoniale Episcoporum continues with several more cases.

As regards liturgical colours, the cope usually follows the color assigned to that day in the liturgical calendar, although white may always be worn for celebrations of a joyful character or before the Blessed Sacrament, and violet may always be worn for celebrations of a penitential character. It may be made of any rich or becoming material, including cloth of gold (which may be used in place of any colour except violet or black). Owing to its ample dimensions and unvarying shape, ancient copes are preserved to us in proportionately greater numbers than other vestments and provide the finest specimens of medieval embroidery we possess. Among these the "Syon Cope" in the Victoria and Albert Museum, London, and the "Ascoli Cope" in the Pinacoteca Civica, Ascoli Piceno, are remarkable as representing the highest excellence of that specially English thirteenth-century embroidery known as the opus anglicanum ('English work'). We are also indebted to the use of copes for some magnificent specimens of the jeweller's craft. The brooch or clasp, meant to fasten the cope in front, and variously called morse, pectoral, bottone, etc., was an object often in the highest degree precious and costly. The work which was the foundation of all the fortunes of Benvenuto Cellini was the magnificent morse which he made for Pope Clement VII. Some admirable examples of these morses still survive.

Papal mantum[link]

The mantum or papal mantle differs little from an ordinary cope except that it is somewhat longer, and is fastened in the front by an elaborate morse. In earlier centuries it was red in colour; red, at the time being the papal colour rather than white. In the eleventh and twelfth centuries the immantatio, or bestowal of the mantum on the newly elected pope, was regarded as specially symbolical of investiture with papal authority: Investio te de papatu romano ut praesis urbi et orbi, "I invest you with the Roman papacy, that you may rule over the city and the world" were the words used in conferring it at the Papal Coronation. In the decade after Vatican II, the use of the mantum nearly fell out of use, but has since been brought back into common use by Pope Benedict XVI.

Cappa magna[link]

The cappa magna (literally, "great cape"), a form of mantle, is a voluminous ecclesiastical vestment with a long train, proper to cardinals, bishops, and certain other honorary prelates. It is however a jurisdictional garment.

The cappa magna is not strictly a liturgical vestment, but only a glorified cappa choralis, or choir cope. That is to say, it is not used when vested as a celebrant at a liturgical service. It is worn in processions or "in choir" (i.e., attending but not celebrating services). Its colour for cardinals is ordinarily red and for bishops violet. Cardinals and papal nuncios are entitled to wear a cappa magna of watered silk.

Franc Cardinal Rode wearing a winter cappa magna with ermine.

The cappa magna is ample in volume and provided with a long train and a disproportionately large hood, the lining of the hood is ermine in winter and silk in summer, and was made in such a way as to completely cover not only the back, but also the breast and shoulders. The hood is functional and in earlier times was often placed on the head and covered with the galero. This used to be the custom when the pope created a new cardinal at a consistory. Nowadays, the hood is normally worn over the head only during penitential rites. Previously, cardinals who were members of specific religious orders would wear a cappa magna in the color of their order. Nowadays, all cardinals wear red.

With the motu proprio Valde solliciti^[4] of 30 November 1952 ordered that the train of the cappa magna should be shortened by about half (from 15 metres to 7).^[5] The 1969 Instruction on the Dress, Titles and Coats-of-arms of Cardinals, Bishops and Lesser Prelates^[6] laid down that:

The cappa magna, always without ermine, is no longer obligatory; it can be used only outside of Rome, in circumstances of very special solemnity. (§ 12)

Since then, the cappa magna is hardly ever used except in celebrations according to the pre-1969 liturgical books, as it was used for the ordination of deacons of the Institute of Christ the King Sovereign Priest in 2009.^[7]

The Latin Patriarch of Jerusalem still uses the ermine-lined winter cappa, because he is bound by the complex and unalterable rules of the status quo, an 1852 Ottoman firman which regulates the delicate relations between the various religious groups that care for the religious sites in the Holy Land. This anomaly is most evident at the Midnight Mass on Christmas Eve in Bethlehem.

Use in the Church of England and Anglican Communion[link]

An Anglican priest wearing a cope over cassock, surplice and stole.

The earliest post-Reformation prayer books of the Church of England contemplated the continued use of the cope, whereas the alb and chasuble were eschewed. In the contemporary Church of England and the Anglican Communion as a whole, the cope is worn by Anglo-Catholics and High Church Anglicans as a non-Eucharistic vestment, in the same manner as that of the Roman Catholic Church. It is also an Anglican tradition for the higher clergy - deans, archdeacons and canons to wear copes on diocesan occasions.

In the Broad Church (rarely in the Low Church), the cope is sometimes worn in lieu of the chasuble at the Eucharist (over either a surplice or an alb) especially by bishops and other prelates. In the Church of England itself, the cope is worn by the Archbishop of Canterbury during the coronation of the Sovereign. Prior to her coronation in 1953, Queen Elizabeth II presented a set of ornate copes to the Canons of Westminster Abbey as a gift.

Use in Lutheran churches[link]

Danish Lutheran bishops wearing a cope over cassock, surplice, ruff and pectoral cross.

The cope is usually worn only for processions and services of the Divine Office (morning and evening prayers) in most Lutheran denominations. In the Evangelical Lutheran Church in America, which is similar to the churches of the Anglican Communion, the cope is usually worn by the bishop when not serving as the presiding minister at Holy Communion. In the Church of Norway and the Danish National Church the cope is reserved for use by bishops. It is infrequently worn by clerics in the Lutheran Church - Missouri Synod or other Lutheran denominations, although its use has increased in recent decades.

Use in universities[link]

As part of academic dress, the University of Cambridge uses a cope known as a cappa clausa which is made of scarlet superfine cloth with the cowl lined and the cape opening edged with white fur and is closed with clasps. This was once the Congregation dress of DDs but has now come to be the Vice-Chancellor's (or their deputies') official congregation dress when conferring degrees. Praelectors presenting candidates for higher doctoral degrees also wear the cope.

The only other place that still use the cope is the University of the South in America where it is also the official dress of the vice-chancellor. The only difference with the Cambridge cope is that the cape hem is also edged in fur.

Historically and artistically significant examples[link]

A cope from the Vestments of the Order of the Golden Fleece in the Secular Treasury of the Hofburg Palace in Vienna.^[8][9]

The Jubilee Cope commissioned for the Bishop of London by St. Paul’s Cathedral in honor of the Silver Jubilee of Queen Elizabeth II.^[10][11]

The Syon Cope.^[12][13]

A medieval English cope in the Vatican collections.^[14]

Cardinal Morton's cope at the Art Institute of Chicago^[15]

Butler-Bowden Cope at the Victoria and Albert Museum.^[16]

The cope from the set of vestments commissioned from Guasparri Di Bartolomeo Papini (1535–1607) for Pope Clement VIII.^[17]

See also[link]

• Ferraiolo
• Mantle (vesture)

Sources and references[link]

• Thurston, Herbert (1908), "Cope", The Catholic Encyclopedia, IV, New York: Robert Appleton Company, http://www.newadvent.org/cathen/04351a.htm, retrieved 2007-07-026 

External links[link]

• The Cappa Magna (the first 3 photos show the Latin Patriarch of Jerusalem in ermine-lined cappa magna)
• Pinacoteca Ascoli Piceno - wikipedia.it Italy Ascoli Cope

 This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). Catholic Encyclopedia. Robert Appleton Company. 

Citizen Cope
Background information
Origin	Memphis, Tennessee, U.S.[1]
Genres	Alternative rock
Occupations	Musician, disc jockey
Instruments	Turntables, guitar, keyboard, drum machine
Years active	1993–present
Labels	DreamWorks Records Arista Records RCA Records
Associated acts	Basehead, Goodie Mob, Dido, Easy Star All-Stars
Website	www.citizencope.com

Clarence Greenwood (stage name Citizen Cope) is an American songwriter and producer. His eclectic mix of blues, laid-back rock, soul, and folk has a large and profoundly dedicated following^{[citation needed]}, built over the past decade of touring due to solid word of mouth.

Citizen Cope’s compositions have been recorded by artists as varied as Carlos Santana, Dido, Pharoahe Monch and Richie Havens. He currently records and produces for his own record label, Rainwater Recordings, which he founded in 2010 after electing to no longer work with major labels. He previously had been signed to Capitol, Arista, DreamWorks and RCA.

Biography[link]

This section of a biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2009)

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Early life[link]

Born in Memphis, Clarence Greenwood spent parts of his childhood in Texas and Mississippi, ultimately ending up in Washington, DC where he was primarily raised.

Recording career[link]

Clarence Greenwood was initially the DJ for Washington DC based hip hop group Basehead. He was signed to Capitol Records in 1997. In 2000, Citizen Cope signed with DreamWorks and released a self-titled album in 2002. Rolling Stone wrote, "...Cope melds hip-hop with folk, soul and blues...and 'feels' this combination deeply....Cope's uncommon chords and harmonies combine delicate dissonance with unexpected flashes of beauty..." And the Washington Post called him the “City’s most soulful export since Marvin Gaye.” The album’s song, “Let The Drummer Kick,” is certified gold. Shortly afterward, Arista Records pursued the songwriter, prompting Cope to buy his way out of his DreamWorks contract. In 2004 he released The Clarence Greenwood Recordings, which he also produced. Upon hearing it, Vibe magazine called it “flawless throughout,” noting that Cope “makes music that feeds your soul…this is one of those CDs you hear at a friend’s house and rush out to buy.” Every Waking Moment followed in 2006 (also self-produced), and debuted at #69 on the Billboard 200 top-selling albums chart. In 2010, Cope decided to found and run his own record label, Rainwater Recordings. The move allowed him to exert full creative control over his music and career, free from the marketing entreaties of the major record labels he previously had been signed to. He released The Rainwater LP that year, producing the entire album. The Rainwater LP was critically acclaimed and newfound fan Ellen DeGeneres invited him to perform “Healing Hands” in April 2010. “Let the Drummer Kick” off his 2002 album Citizen Cope has recently gone RIAA gold. Citizen Cope is currently working on a new album, "One Lovely Day" due out July 17.^[2]

Songwriting and Producing[link]

A critically acclaimed songwriter, Citizen Cope’s work has been recorded by a number of vastly different musical artists, a testament to the indefinable genre he has created. In 2002, Carlos Santana requested Cope’s song, “Sideways,” for his Shaman album. Cope sang on the track and produced it as well. Shaman has sold over 5 million copies worldwide. Sheryl Crow asked to record the song with Citizen Cope in 2010 for her 100 Miles From Memphis album, and invited him to join her in concert on several occasions to perform it, including in front of 27,000 fans at the Crossroads Guitar Festival in Chicago (June 26, 2010). At the same festival, Eric Clapton brought Cope onstage to perform “Hands of the Saints” together. Corey Taylor, frontman for alt-metal band Slipknot, has also recorded a version of the song. In 2008 he wrote and recorded “Burnin’ Love” with Dido for her Safe Trip Home album. That same year, folk legend Richie Havens released his version of Cope’s “Hurricane Waters” and Chicago-based hip-hop artist Rhymefest recorded “Bullet,” featuring Cope. Citizen Cope’s songs have been licensed to appear in numerous films, soundtracks and commercials. His work appears in a number of soundtracks to films including 2006’s Trust the Man (Julianne Moore, Maggie Gyllenhaal, Billy Crudup) and 2008’s Ghost Town (Ricky Gervais), 2006’s Accepted (Jonah Hill, Blake Lively), The Lincoln Lawyer (Matthew McConaughey), and Fracture (Anthony Hopkins). His “Bullet and a Target” appears in 2006’s The Sentinel (Michael Douglas, Kiefer Sutherland), Alpha Dog (Emile Hirsch) as well as in the show Cold Case. Cope’s songs have also been included in television shows Scrubs, multiple episodes of One Tree Hill, multiple episodes of Entourage, So You Think You Can Dance and on the soundtrack to the critically acclaimed television show Smallville. A new song, “One Lovely Day,” appeared in the film Battleship (Liam Neeson, Alexander Skarsgard), released in May 2012.

Touring[link]

Citizen Cope has toured incessantly throughout his career, building a dedicated following that returns to his concerts time and time again. He now headlines tours year-round in not just major markets in the US, but taking note to regularly perform in secondary markets where a great deal of his fan base resides. Cope performs an average of 100 concerts annually at clubs and major festivals alike. In 2002, he opened for Carlos Santana all across Europe. In 2010, he was invited to be a part of Eric Clapton’s U.S. Crossroads Festivals.

Use in other media[link]

	Santana ft. Citizen Cope "Sideways" (2002) noicon 28 second sample from Clarence Greenwood's "Sideways" (Santana ft. Citizen Cope from Shaman).
Problems listening to this file? See media help.

• "Sideways"
  • Featured in the film "The Fountain" with Hugh Jackman and Rachel Weisz
  • Featured in the episode "My Jiggly Ball" of the television series Scrubs
  • Featured in 2006's Trust the Man
  • Featured in 2008's Ghost Town
  • In the television series, One Tree Hill
  • Featured in 2009's "So You Think You Can Dance"

• "Holdin' On"
  • Played during a scene in the 2005 film Prime.

• "D'Artagnan's Theme"
  • Featured in 2010 Italian Film "Baciami Ancora" directed by Gabriele Muccino.

• "Deep"
  • Featured in episode of "One Tree Hill".

• "If There's Love"
  • Featured in 2002 episode of TV series "Smallville".

• "Left for Dead"
  • Featured in 2007 TV episode of "Criminal Minds".

• "Brother Lee"
  • Featured in a commercial for ClickNET, a Romanian ISP.
  • Plays in trailer for the 2008 film What Just Happened?

• "Nite Becomes Day"
  • Featured in the movie Fracture.
  • Featured in festival film 5 Up 5 Down.
  • Featured in TV series "Starved."

• "Pablo Picasso"
  • Featured in 2006 TV series "Six Degrees."
  • Featured in TV series "Starved."
  • Featured in TV series "Related".

• "Penitentiary"
  • Played in the Series Premiere in 2005 of the CBS TV Series Criminal Minds

• "Son's Gonna Rise"
  • Featured in Pontiac commercial.
  • Featured in AXN Portugal commercial.
  • In the television series, One Tree Hill on May 10, 2005.
  • In a trailer for television series Sons of Anarchy in July 2009.
  • In an HBO/Cinemax commercial.

• "My Way Home"
  • Featured in 2005 TV series "Summerland".
  • A scene in the 2006 film Trust the Man.
  • Featured in festival film 5 Up 5 Down.

• "Bullet and a Target":
  • An episode of HBO's hit series Entourage ( Season 2, "Blue Balls Lagoon")
  • Featured in 2005 Film "The Hit List".
  • An episode of Showtime's series Sleeper Cell (Season 1, "Target")
  • The end credits of the 2006 film The Sentinel.
  • In a 2006 episode of the CBS TV Series Cold Case.
  • A scene in the 2006 film Trust the Man.
  • Featured in 2006 TV series "Starved.
  • A scene in the 2007 film Alpha Dog.
  • Featured in 2007 promo commercial for 24/Degree".
  • In the end credits of the 2006 film 16 Blocks.
  • In the soundtrack of Seasons, a mountain biking film by The Collective, during a section by rider Andrew Shandro.
  • In the soundtrack of The Tangerine Dream, a 16 mm ski film by Teton Gravity Research.
  • In the soundtrack of The Hit List, a ski film by Matchstick Productions.
  • Featured on rapper Rhymefest's album Blue Collar
  • Covered by rap Australian group Bliss N Eso on the Album Flying Colours
  • Featured in the 2008 snowboarding movie Church!
  • In the movie "Frothing", when Joel Parkinson surf
  • Featured in 2009 HBO special Pacquaio/Cotto 24/7".

• "Let the Drummer Kick"

• • in the final scene of "Entrance Wound", an episode from the CBS TV series CSI: Miami
  • In the films Accepted and Coach Carter.
  • Featured in 2003 Episode of "CSI: Miami".
  • In a 2005 episode of the CBS TV Series Cold Case.
  • On the hit Fox show So You Think You Can Dance in a contemporary dance routine by Neil Haskell and Lauren Gottlieb in season three. The next day, the track reached #50 on the iTunes Top 100 Singles Chart. It was also used for a solo routine by Jeanine Mason in season five.
  • The HBO series Entourage during the fourth season finale "The Cannes Kids."
  • Featured on the album Radiodread by Easy Star All-Stars with his cover of Radiohead's "Karma Police".
  • Featured in a 2008 Acura TSX commercial.
  • Featured in an episode of NBC's drama series "Kingpin"
  • In the soundtrack of Such is Life, a skiing film by Rage Films.

• "Awe"
  • Featured in a 2007 episode of HBO's Entourage during the second part of the third season's (3B) episode "The Prince's Bride".

• "Left For Dead"
  • Featured in Season 2 episode 22 (legacy) of Criminal Minds.

• "Hurricane Waters"
  • Featured in the documentary Trouble the Water.
  • Featured in 2005 festival film Midsummer Dream.

• "Back Together"
  • Featured in 2006 episode of "One Tree Hill.

• "Healing Hands"
  • Feature in 2010 episode of "3 op Reis (Dutch Travel Program)."

• • 107 Degrees*
  • Feature in 2011 The Lincoln Lawyer.

Discography[link]

• Cope Citizen (1992) (500 copies)
• Citizen Cope (2002)
• The Clarence Greenwood Recordings (2004)
• Every Waking Moment (2006) #69 U.S.
• The Rainwater LP (2010) #111 U.S., #10 U.S. Independent Albums
• One Lovely Day (Due for release July 17, 2012)

Other contributions[link]

• Live at the World Café: Vol. 15 - Handcrafted (2002, World Café) - "If There's Love"
• Vocals on "Karma Police" from the Easy Star All Stars album "Radiodread" a complete reggae/dub cover of Radiohead's "OK Computer".
• "Way Down In A Hole" - Tom Waits cover
• Guest vocals on "The Grand Illusion (Circa 1973)" - Pharoahe Monch
• Turntablism in "Let The Drummer Kick" by DJ JVC

References[link]

External links[link]

Template:Comvhgjvjmons category

• Official website
• Citizen Cope on Myspace
• AOL Music: Citizen Cope performs Bullet with rapper Rhymefest
• Citizen Cope chyujrrrsgjgffstsdfjhvollection at the Internet Archive's live music archive
• Citizen Cope Artist Station: Citizen Cope on Slacker.com

Categoryhghjlooo jbj:American singer-songwriters you know!

Carlos Santana
Santana in Munich on January 21, 2000
Background information
Birth name	Carlos Augusto Alves Santana
Born	(1947-07-20) July 20, 1947 (age 64) Autlán de Navarro, Jalisco, México
Genres	Latin rock, chicano rock, Rock, blues rock, funk, jazz fusion, tejano music, salsa, pop, free jazz
Occupations	Musician, songwriter
Instruments	Vocals, guitar, percussion, violin
Years active	1964–present
Labels	RCA Records (2011-present) [1] Arista, Polydor, Columbia, Polygram, CBS
Associated acts	Santana, Los Lonely Boys, John McLaughlin
Website	Santana.com
Notable instruments
PRS Santana II Yamaha SG2000 Devadip Yamaha SG175 Gibson SG

Carlos Augusto Alves Santana (born July 20, 1947) is a Mexican and American rock guitarist. Santana became famous in the late 1960s and early 1970s with his band, Santana, which pioneered rock, Latin music and jazz fusion. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2003, Rolling Stone magazine listed Santana at number 15 on their list of the 100 Greatest Guitarists of All Time.^[2] He has won 10 Grammy Awards and 3 Latin Grammy Awards.^[3]

Biography[link]

Early life[link]

Santana was born in Autlán de Navarro, Jalisco, Mexico. Carlos learned to play the violin at age five and the guitar at age eight. His younger brother, Jorge Santana, would also become a professional guitarist. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana In La Colonia Libertad, the city on Mexico's border with California, and then San Francisco. Carlos stayed in Tijuana but joined his family in San Francisco later and graduated from James Lick Middle School and Mission High School there. He graduated from Mission High in 1965. Carlos was accepted into the California State University, Northridge and Humboldt State University, but turned down both of the offers. Javier Bátiz, a famous guitarist from Tijuana, was said to have been Carlos's guitar teacher who taught him to play a different style of guitar soloing.^[4] After learning Javier Batiz's techniques, Santana would make them his own as well.^[5]

Early career[link]

In San Francisco, he got the chance to see his idols, most notably B.B. King, perform live. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician. In 1966, he gained prominence by a series of accidental events all happening on the same day. Santana was a frequent spectator at Bill Graham's Fillmore West. During a Sunday matinee show, Paul Butterfield was slated to perform there but was unable to do so as a result of being intoxicated. Bill Graham assembled an impromptu band of musicians he knew primarily through his connections with the Grateful Dead, Butterfield's own band and Jefferson Airplane, but he had not yet picked all of the guitarists at the time. Santana's manager, Stan Marcum, immediately suggested to Graham that Santana join the impromptu band and Graham assented. During the jam session, Santana's guitar playing and solo gained the notice of both the audience and Graham.^[7] During the same year, Santana formed the Santana Blues Band, with fellow street musicians, David Brown and Gregg Rolie (bassist and keyboard player, respectively).^[5]

With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly adopted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to him signing a recording contract with Columbia Records, then run by Clive Davis.

[edit] Santana

Santana was signed by CBS Records and went into the studio to record their second album. They were not satisfied with the release and decided changes needed to be made. This resulted in the dismissal of Bob Livingston. Santana replaced him with Mike Shrieve, who had a strong background in both jazz and rock. Marcus Malone was forced to quit the band due to personal problems, and the band re-enlisted Michael Carabello. Carabello brought with him percussionist Jose Chepito Areas, who was already well-known in his country, Nicaragua, and, with his skills and professional experience, was a major contributor to the band.

Bill Graham had been a fan of the band from its inception, arranged for the band to appear at the Woodstock Music and Art Festival before their debut album was even released. They were one of the surprises of the festival; their set was legendary and, later, the exposure of their eleven-minute instrumental "Soul Sacrifice" in the Woodstock film and soundtrack albums vastly increased Santana's popularity. Graham also gave the band some key advice to record the Willie Bobo song "Evil Ways", as he felt it would get them radio airplay. His first eponymous album, Santana released in August, became a huge hit, reaching number four on the U.S. album charts, and the catchy single "Evil Ways" reached number nine on the Billboard Hot 100.^{[citation needed]}

Santana performing in Hamburg, November 1973

In 1969, Santana's performance at the Woodstock festival introduced the band to an international audience and garnered critical acclaim, although the band's sudden success put pressure on the group, highlighting the different musical directions in which Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had been a key component in establishing the band from the start. Santana, however, was increasingly interested in moving beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music, which were influenced by his fascination with Miles Davis and John Coltrane, as well as his growing interest in spirituality. At the same time, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate.

Teenage San Francisco Bay Area guitar prodigy Neal Schon was asked to join the band in 1971, in time to complete the third album, Santana III. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and other session musicians which added to both percussion and vocals, injecting more energy to the proceedings. Santana III was another success, reaching number one on the album charts, selling two million copies, and yielding the hits "Everybody's Everything" and "No One to Depend On".

New Year's Eve 1976; at the Cow Palace, San Francisco

But tension in the band continued. Along with musical differences, drug use became a problem, and Santana was deeply worried it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru, due to student protests against U.S. governmental policies and unruly fans. The madness of the tour convinced Santana that changes needed to be made in the band and in his life.^{[citation needed]}

In January 1972, Santana, Neal Schon and Coke Escovedo joined former Band of Gypsys drummer Buddy Miles for a concert at Hawaii's Diamond Head Crater, which was recorded for the album, Carlos Santana & Buddy Miles! Live!. The performance was erratic and uneven, but the album managed to achieve gold-record status on the weight of Santana's popularity.

[edit] Caravanserai

In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both contributed to the session. Rolie returned home to Seattle, and after some time later became a founding member of Journey (which Schon would later join as well).

When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a "Top 40" act. Nevertheless, over the years, the album would achieve platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' Rolling Stone 1972 cover story "The Resurrection of Carlos Santana".

Santana met Deborah King, whom he later married in 1973. She is the daughter of the late blues singer and guitarist Saunders King. They have three children: Salvador, Stella and Angelica. Together with wife Deborah, Santana founded a not-for-profit organization, the Milagro Foundation, which provides financial aid for educational, medical, and other needs.

Shifting styles and spirituality in the 1970s[link]

In 1972, Santana became a huge fan of the pioneering fusion band The Mahavishnu Orchestra and its guitarist John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and Deborah to his guru, Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name Devadip, meaning "The lamp, light and eye of God." Santana and McLaughlin recorded an album together, Love, Devotion, Surrender with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, who both had made appearances on Miles Davis' classic Bitches Brew in 1969.

In 1973, Santana, having obtained legal rights to the band's name, Santana, formed a new version of the band, Santana, with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana was later able to recruit jazz vocalist Leon Thomas for a tour of Japan, which was recorded for the live, sprawling, high-energy fusion album Lotus. CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and the album was available in the U.S. only as an expensive, imported, three-record set.^[which?] The group later went into the studio and recorded Welcome, which further reflected Santana's interests in jazz fusion and his increasing commitment to the spiritual life of Sri Chinmoy.

Santana during his "inner secrets" tour in the Netherlands; 1978

A collaboration with John Coltrane's widow, Alice Coltrane, Illuminations, followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist, Jules Broussard to the lineup. The band recorded one studio album Borboletta, which was released in 1974. Drummer Leon "Ndugu" Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career.

By this time, the Bill Graham's management company had assumed the affairs of the group. Graham was critical of Santana's direction into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, street-wise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted.

Santana along with Tom Coster, producer David Rubinson, and Chancler formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album Amigos, which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album also received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana back into the charts. In 1976, Rolling Stone ran a second cover story on Santana entitled "Santana Comes Home".

The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the personnel who came and left the band was percussionist Raul Rekow, who joined in early 1977 and remains to this day. Most-notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 album Moonflower.

The relative success of the band's albums in this era allowed Santana to pursue a solo career funded by CBS. First, Oneness: Silver Dreams - Golden Reality, in 1979 and The Swing of Delight in 1980, which featured some of his musical heroes: Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams from Miles Davis' legendary 1960s quintet.^{[citation needed]}

The pressures and temptations of being a high-profile rock musician and requisites of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded, were great sources of conflict to Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought was Chinmoy's unreasonable rules imposed on his life, in particular, his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982.

The 1980s[link]

Santana, 1984 Barcelona, Spain

More radio-pleasing singles followed from Santana and the band. "Winning" in 1981 and "Hold On" (a remake of Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, The Fabulous Thunderbirds, Willie Nelson and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the tragically short life of rock and roll legend Ritchie Valens and starred Lou Diamond Philips.

Although the band had concentrated on trying to produce albums with commercial appeal during the 1980s, changing tastes in popular culture began to reflect in the band's sagging record sales of their latest effort Beyond Appearances. In 1985, Bill Graham had to once again pull strings for Santana to convince principal Live Aid concert organizer Bob Geldof to allow the band to appear at the festival.^{[citation needed]} The group's high-energy performance proved they were still a top concert draw the world over despite their poor performance on the charts. Santana regained a great deal of respect in both jazz and rock circles, with Prince and guitarist Kirk Hammett of Metallica citing him as an influence.^{[citation needed]}

The band Santana returned in 1986 with a new album Freedom.

L to R: Bob Dylan, Joan Baez and Santana (Mick Taylor not visible) in Hamburg, May 1984

Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988, Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with Viva Santana!.

That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai. Santana released another solo record, Blues for Salvador, which won a Grammy Award for Best Rock Instrumental Performance.

In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year, he made a guest appearance on Ottmar Liebert's album Solo Para Ti, on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992, Santana hired jam band Phish as his opening act.

Return to commercial success[link]

Santana performing in 2000

Santana's record sales in the 1990s were very low.^{[citation needed]} Toward the end of the decade, he was without a contract. However, Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, Cee-Lo, Maná, Dave Matthews, K. C. Porter, J. B. Eckl, and others.

However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last #1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. Supernatural reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B duo The Product G&B, also hit number one, spending ten weeks there in the spring of 2000. Supernatural eventually sold over 15 million copies in the United States, making it Santana's biggest sales success by far.

Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night.

In 2000 Supernatural won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens", from the album Invincible.

In 2002, Santana released Shaman, revisiting the Supernatural format of guest artists including P.O.D. and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch, rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group The Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals.

In early August 2003, Santana was named fifteenth on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

On April 21, 2005, Santana was honored as a BMI Icon at the 12th annual BMI Latin Awards. Santana was the first songwriter designated a BMI Icon at the company's Latin Awards. The honor is given to a creator who has been "a unique and indelible influence on generations of music makers." ^[8]

Carlos Santana during a concert in 2005

In 2005, Herbie Hancock approached Santana to collaborate on an album again using the Supernatural formula. Possibilities was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, fellow Latin star Shakira invited Santana to play the soft rock guitar ballad "Illegal" on her second English-language studio album Oral Fixation Vol. 2.

Santana's 2005 album All That I Am consists primarily of collaborations with other artists; the first single, the peppy "I'm Feeling You", was again with Michelle Branch and The Wreckers. Other musicians joining the mix this time included Steven Tyler of Aerosmith, Kirk Hammett from Metallica, hip-hop/reggae star Sean Paul and R&B singer Joss Stone. In April and May 2006, Santana toured Europe, where he promoted his son Salvador Santana's band as his opening act.

In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album 90 Millas, on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night".

In 2008, Santana started working with his long-time friend, Marcelo Vieira, on his solo album Marcelo Vieira's Acoustic Sounds, which is due to be released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter featuring heavy melodic riffs by Santana.

Carlos Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Carlos Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje, Macedonia. With 2.5 hours concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" is currently playing at The Hard Rock hotel in Las Vegas, where it will play through 2011.

Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One To Depend On" is included in game, which was released on September 1, 2009.^[9]

Carlos recently opened a chain of upscale Mexican restaurants called "Maria Maria". It is a combined effort with Chef Roberto Santibañez. They are located in Tempe, Arizona; Mill Valley (now closed); Walnut Creek, Danville, San Diego, California; Austin, Texas; and Boca Raton, Florida.^[10]

Influences[link]

Around the age of 8, Santana "fell under the influence" of blues performers like B.B. King and John Lee Hooker.^[11] He also credits Jimi Hendrix, Mike Bloomfield and Peter Green as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a biography of Bloomfield, Michael Bloomfield: If You Love These Blues-An Oral History in 2000.^[12]

Equipment[link]

Guitars and effects[link]

Santana's Yamaha SG2000 Devadip (1976, with inlay) on exhibit in the Berlin Musical Instrument Museum

Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival. In the time of Abraxas and Santana III (1970–1972), He used different Gibson Les Paul`s and a Black Gibson SG Special. From 1976 until 1982, his main guitar was a Yamaha SG 175B and sometimes a white Gibson SG Custom with 3 single coil pick-ups. In 1982 he started to use a custom made PRS Custom 24 guitar, in 1988 he made his first Signature model PRS Santana I. In 1999 Carlos Santana and PRS Guitars come with the most expensive, high-end PRS Santana II model also known as "Supernatural". Some of the changes were the materials, Santana II was built from the best materials available. Though it was an extraordinarily high-priced instrument, Santana II guitar was offered for nearly nine years, until 2007. Because the second edition was so expensive, reduction of the cost was needed which helped to spur the introduction of the next model in the series, the Santana III in 2001. In 2008, Carlos along with Paul Reed Smith has developed a Santana Signature model which combines some of the best features of all the previous models, called PRS Santana MD "The Multidimensional".

Santana currently uses a Santana II model guitar using PRS Santana III pickups with nickel covers and a tremolo, with .009-.042 gauge D'Addario strings and PRS Santana MD Guitar^[13] Santana's guitar necks and fretboards are constructed out of a single solid piece of Brazilian Rosewood;^[14] this helps create the smooth, singing, glass-like tone for which he is known.

Santana Signature Models:

• PRS Santana I "The Yellow"(1988)
• PRS Santana II "Supernatural" (1999)
• PRS Santana III (2001)
• PRS Santana SE (2001)
• PRS Santana SE II (2003)
• PRS Santana Shaman SE-Limited Edition (2003)
• PRS Santana MD "The Multidimensional" (2008)
• PRS Santana Abraxas SE-Limited Edition (2009)
• PRS Santana SE "The Multidimensional" (2011)

Santana also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension nylon strings.^[15]

Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron wah wah pedal (or, more recently, a Dunlop 535Q wah) and a T-Rex Replica delay pedal.^[16][17] then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets.

Previous setups include an Ibanez Tube Screamer^[18] right after the guitar. He is also to have been known to use an Electro Harmonix Big Muff distortion for his famous sustain. In the song "Stand Up" from the album Marathon, Santana uses a Heil talk box in the guitar solo.

Amplifiers[link]

Carlos Santana's distinctive guitar tone is produced by PRS Santana signature guitars plugged into multiple amplifiers. The amps consist of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Carlos Santana attributes the tonal qualities of each amplifier to that of a singer producing head/nasal tones, chest tones, and belly tones. A three-way amp switcher is employed on Carlos's pedal board to enable him to switch between amps. Often the unique tones of each amplifier are blended together, complimenting each other producing a richer tone.

He also put the "Boogie" in Mesa Boogie: "Santana exclaimed to "That little thing really Boogies!"^[19]

Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home.

During his early career Santana used a GMT transistor amplifier stack and a silverface Fender Twin. The GMT 226A rig was used at the legendary Woodstock concert as well as during recording the Santana's debut album. During this era Santana had also began to use the Fender Twin, which was as well used on the debut and proceedingly at the recording sessions of Abraxas.

Personal life[link]

Carlos Santana became a naturalized American citizen in 1965.^[20]

On October 19, 2007, his wife of 34 years, Deborah, filed for divorce citing "irreconcilable differences".^[21]

Carlos Santana became engaged to Cindy Blackman, after proposing to her during a concert of the Universal Tone Tour at Tinley Park in Chicago, Illinois on July 9, 2010. The two were married in December 2010.^[22][23] They currently live in Marin County, California.

Discography[link]

Awards and nominations[link]

Santana's star on the Hollywood Walk of Fame

References[link]

Sources[link]

• Soul Sacrifice; The Carlos Santana Story Simon Leng 2000
• Space Between The Stars Deborah Santana 2004
• Rolling Stone "The Resurrection of Carlos Santana" Ben Fong Torres 1972
• New Musical Express "Spirit of Santana" Chris Charlesworth November 1973
• Guitar Player Magazine 1978
• Rolling Stone "The Epic Life of Carlos Santana" 2000
• Santana I – Sony Legacy Edition: liner notes
• Abraxas – Sony Legacy Edition: liner notes
• Santana III – Sony Legacy edition: liner notes
• Viva Santana – CBS CD release 1988; liner notes
• Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra Walter Kolosky 2006
• Best of Carlos Santana – Wolf Marshall 1996; introduction and interview

Further reading[link]

• Chipley Slavicek, Louise. Carlos Santana, Chelsea House Publications or Facts on File, 2006, 119 p., ISBN 0-7910-8844-8
• Leng, Simon. Soul Sacrifice: The Santana Story, Firefly-S.A.F. Publishing, 2000, 224 p., ISBN 0-946719-29-2. Republ. as Santana, Catedra, 2002, ISBN 84-376-1947-5
• McCarthy, Jim; Ron Sansoe, Ron, foreword by Carlos Santana. Voices of Latin Rock: The People and Events That Created This Sound, Omnibus Press, 2004 and Hal Leonard Publishing, 2005, 316 p., ISBN 0-634-08061-X
• Miller, Hal; Santana Debbie; Faulkner, John (ed.), w/ a foreword by Bill Graham. Santana: A Retrospective of the Santana Band's Twenty Years in Music, San Francisco Mission Cultural Center, 1987 or 1988, 50p., no ISBN. Includes a 4-p genealogical tree w/ the members's name for every Santana band from 1966.
• Molenda, Michael (ed.). Guitar Player Presents Carlos Santana, Backbeat Books, 2010, 124 p., ISBN 978-0-87930-976-3
• Remstein, Henna. Carlos Santana (Latinos in the Limelight), Chelsea House Publications, 2001, 64 p., ISBN 0-7910-6473-5
• Shapiro, Marc. Carlos Santana: Back on Top, St-Martin's Press, 2000 and 2002, 288 p., ISBN 0-312-28852-2
• Sumsion, Michael. Maximum Santana: The Unauthorized Biography of Santana, Chrome Dreams, 2003, ISBN 1-84240-107-6. A CD-audio biog
• Weinstein, Norman. Carlos Santana: A Biography, Greenwood Press, 2009, 152 p., ISBN 978-0-313-35420-5
• Woog, Adam. Carlos Santana: Legendary Guitarist, Lucent Books, 2006, 104 p., ISBN 1-59018-972-8

External links[link]

	Book: Santana
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Carlos Santana

• Official website
• Milagro Foundation
• Information about Carlos Santana
• Concerts online at Wolfgang's Vault