Gitano Acoustic Electric Guitar

Track detailing

We composed this piece while riding back at my bicycle, from the east bay of my beloved Bay area (san francisco bay area). There is a nature protect called Coyote Hills during the east-end of this "Dumbarton Bridge". I used to check-out bike cycling with some good friends and something day the melody came to my head. It absolutely was in 1984. The cycle ride had up mountains, down hills, extremely calm settings with lots of birds and water, and this track is a tribute to that spot.

I always liked Flamenco music, although I never ever learned it technically or elsewhere, but somehow this melody came to exist. Thus I guess it is a fact that: "you'll use the son out of the nation, however you can't use the country out from the child."

This track, "El Borlo" can be like the party hall events that we regularly slip into, in Tijuana, once I was an adolescent. The groups that played had horns. A lot of them did James Brown songs, others played just what it had been called then "Musica Tropical." This might be before it was called "Salsa." So this is my celebration track. The arrangement that Allan Phillips had written is a killer, and everyone played great on it.

Carlos Santana had been therefore nice and kind and supplied me personally with one of his true "Signature Model Guitar" made by Paul Reed Smith. I got it when I was in New York City, so sitting during my accommodation, looking out my screen to Central Park and New york, I was thinking about urban blues and life in the city.

Out on a gig on Tucson, Arizona, with "The Jazz Pigs, " in 1994. I happened to be jammin' utilizing the conga player when you look at the accommodation, ahead of the gig. We created initial chords then, so when i obtained back to hillcrest I had written the melody. About four months later, we typed the lyrics. Once I started working at Professional Sound and Music, we found among the best humans int this world, Lenny Blake, and then he came up with the interlude. We completed it in 1995.

(tune for Carlos Santana) among my personal favorite tracks by Carlos is "Samba pa' ti." This will be my gift to him, for life of motivation.

Satisfying the legendary Pharoah Sanders in 1997 had been an excellent honor and a thrill in my situation. I eventually got to participate in a discussion with a quiet and proud man. I shall always remember it, and also this one track is considering him.

I typed this track for my boy Danial, who I adore and skip very much. I was honored that Karl Perazzo agreed to do the singing. The chorus at the conclusion, sung in spanish, informs it-all: it really is a tale of a father desiring his son while the heaviness in father's heart that will be lifted if the son comes back.

The Musicians

José Molina Serrano: Acoustic and guitar All Tracks and back ground Vocals; Drum and Bass Sequence; Piano, Kalimbas on Track number 7.

Hank Easton: Rhythm Guitar and final Solo on course #2; Wah-Wah Guitar on course number 4.

Peter Skrabak: Bass on Tracks no. 1, 2, 3, and 8.

Cesar Lozano: Drums on Tracks #1, 2, 3 and 8.

Gary Taylor: Drums on paths # 4 and 6.

Kevin Hennesy: Bass on Tracks number 4 and 6.

Gerardo Nuño: Organ on Tracks number 4 and 6.

Mark Lamson: Tambourine on the right track #6.

Tommy Aros: Congas on Track number 1, Bongos on the right track number 2 and Percussion Instruments on course #7.

Anthony Smith: Organ Solo on the right track # 6.

Raul Rekow: Congas on Tracks # 1, 2, 4, 6 and 8.

Karl Perazzo: Timbales on Tracks number 1, 2, 4 and 8; All Vocals on course #8.

Jason Weber: Saxophone on the right track number 7.

Allan Phillips: Piano on Tracks #1, 3 and 5; Organ on course number 5; Drums, Congas, Timbales, Cow Bell, Claves and all Percussion on Tracks #3 and 5; Background Vocals on Tracks number 3 and 5.

Quino: Lead Vocals on Track number 5; Background Vocals on Tracks no. 3 and 5.

Allen Mascari: Tenor Saxophone on Tracks no. 3 and 5.