Not everybody knows that Los Angeles County has its own “Central Park,” nor that just like its big-brother namesake in New York, Santa Clarita’s Central Park is host to big, free concerts. On Saturday, July 21st, thousands of people turned out for a couple hours of Latin-laced classics, courtesy of local Santana-tribute band Savor. Fans of the group will already be hip to the fact that these guys use the Spanish pronunciation of the word, which is something like “sah-BOR,” and which, in Spanish, is a noun meaning “flavor” or “taste.” The fellows in Savor really came through with the full flavor of Carlos Santana’s music, as they played at the open-air venue at dusk, for an audience of about 5,000.
When the show started around 7 p.m., Michael Caroff was the man with the formidable chore of channeling the chops of one of the original guitar heroes of the Sixties, Carlos Santana. Carlos is known for a distinctive picking style and sustained tone, producing a personal sound which he calls the “grita” (Spanish for “yell” or “cry”). Michael did a great job of reproducing Santana’s leads and tones on stage, supported by keyboard work from Tadashi Namba, and bass by Michael Sunday. The rhythm section was rounded out not only by a sit-down drummer (Rob Canny) behind a standard kit, but also with a pair of additional percussionists, Ben Tapia and Eddie Rouse, who supplied the cross-cultural moving, shaking, and shimmying beats that always infuse songs by Santana. The main man who gave voice to the songs was veteran singer named Misk DiMarco, but other band members also shared vocal duties during the course of the concert.
The Central Park event provided a satisfying serving of both old and new, touching on bright highlights of Carlos Santana’s lengthy and distinguished career. The show opened with “Jingo,” which was followed by a tight rendition of a classic-rock staple, “Evil Ways.” Solid organ notes came from a hefty yet trusty Hammond B3, while horn tones on songs such as “Smooth” were produced by Tadashi’s Yamaha keyboard. After a sweet version of “Europa” came Savor’s execution of the Zombies’ gem, “She’s Not There,” during which the three beat-keepers took turns showing off their rhythmic energy and creativity. Next, Michael spoke briefly on Santana’s magnificent musical legacy, stretching back to the Woodstock festival, the grand-daddy of great outdoor music celebrations. In keeping with the Woodstock spirit, Savor’s performance brought all kinds of folks together in fellowship, and during the band’s energetic “Hope/Soul” medley, it was beautiful to see an impromptu conga line of dancers in front of the stage, made up of all shapes, sizes and ages of participants.
Two expected inclusions near the end of Savor’s performance were “Black Magic Woman” and “Oye Como Va,” both of which were enthusiastically received by the big crowd on the grass. Finally came “Let the Children Play,” which was made meaningful by the playful kids who swayed and danced along with the music. By the time Savor brought the song to a close, the shades of night were closing in on Central Park, and another free “concert on the lawn” was done, but the brilliant spirit of Santana’s music stayed lit in the hearts of all who had come to see this fine tribute band.
