Bob,

Wow! Two mentions of music I played on in one month that seemed to have really moved you!

First "In A Silent Way" from the "Last Days at The Fillmore" and the "Abraxas" album with "Black Magic Woman" It’s nice to hear. I’m never quite sure where your tastes lie, to tell the truth. But whatever it is, you seem to feel strongly about it, and I can relate to that.

I do disagree with you that there are not young talented singer/songwriters out there, though. They are there, you’re just looking in the wrong places. They are not on the charts, many are under the radar, but their fans know them. There really is some real talent out there: but that’s another conversation.

Hmm.."Abraxas" live at the Hollywood Bowl. Interesting idea. There’s not a day that goes by where I don’t get an email about that band and wishes that we perform again. Interesting note about your song selections; "Mother’s Daughter" and "Hope You’re Feeling Better" were both  written by singer and organist Gregg Rolie, who also sang "Black Magic Woman" and by the way, brought that song to the Santana Band. He would constantly play it at sound checks, but everyone pretty much just ignored it until the arrangement stared taking shape. Trust me, if it wasn’t for Gregg Rolie,  Santana would never have played "Black Magic Woman."

Gregg was the ‘Rock" aspect of the band, Carlos was the blues and beautiful melodies, Michael Carabello was the Latin, and I was the jazz part. Hence "In a Silent Way", which by the way was written by the great keyboardist Joe Zawinul, not Miles Davis. Just as you mentioned, "Black Magic Woman" was written by Peter Green from Fleetwood Mac, not Santana. Bill Graham suggested that we play "Oye Como Va".

I thought that the arrangement of "Black Magic Woman" was brilliant as was Gregg’s vocal, and of course Carlos’ guitar is soulful and unforgettable. In fact, I still never get tired of hearing it, nor do I ever get tired of playing it when I sit in with Carlos today.

The whole making  of the album of "Abraxas" was an intense experience. I was 20 years old. In the studio next to us Creedence Clearwater was recording Cosmo’s Factory I believe. Most people don’t realize there were half a dozen instrumental songs on "Abraxas" as well. The band was a smoking band, intense and passionate. Like I always say, when I was an 18 year old kid and came into the group, I soon found out that this was no hippie love thing, this band was like a street gang, but the weapon was music. It was that special chemistry of the individual players; a Mexican, a Nicaraguan, a Puerto Rican, a militant black man, and two white boys from the suburbs that made the groove that fit like a glove.

I always loved the instrumental music of the band. That’s why my new group "Michael Shrieve’s Spellbinder" is an all instrumental group. I have a new CD out that has that instrumental sound. I consider myself a musician, a craftsman, and I want to play the music that makes me happy, that brings the best out of me, and therefore make the audience realize that this is a real breathing group of musicians making magic right before your eyes. Trying to take you somewhere that you’ve forgotten you can go. I play every week in a small club in Seattle with this group and I can see the effect of real passionate music on the audience. And I’m going to take it on the road. But I’m not looking for fame or fortune or to try to be "big" again. I used to tell Mitch Mitchell, rest in peace, that bitterness about being screwed financially will only take you so far. Who does it serve? Not you! Be grateful for what you’ve had, the incredible music you were blessed to be a part of, and don’t ever forget that if you go to the music, not the business, not the labels, not the lawyers, but the music itself, it will never ever let you down.
Ever.

Thanks for listening.

Michael Shrieve