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Mathews, percussionists Karl Perazzo and Paoli Mejias and vocalists Andy Vargas and Ray Greene.Īfter “Europa,” Carlos went into a long rap about Woodstock ’69. Santana then shifted the mood with his fantastic ballad, “Europa.” It boasted a delightfully hesitant rendering of the soaring melody and unexpected avenues in his solo, when he rolled the treble off his guitar giving it what Clapton called “the woman tone.” On this and every number, Santana was supported by a first-rate row of players including longtime bassist and former Miles Davis sideman Benny Rietveld, keyboardist David K. The band then cooled things down by serving up some of their hit ballads including “Head to the Sky,” “That’s the Way of the World” and “After The Love Has Gone,” before upshifting to more high-energy favorites – “Boogie Wonderland,” “Let’s Groove” and the set closer “September.” The whole affair seems largely directed by the powerful centerstage presence and thumping bass of Verdine White.

The entire band is as tight “as a mosquitoes’ tweeter” to quote another great musician, Nina Simone. Even at 71, Bailey hits all the high notes, probably the highest of high notes in all of music, at least since they stopped cranking out operatic castratos in the 17th Century! His son, Phillip Bailey Jr., shares both the lead duties and otherworldly vocal instrument of his father. The most striking aspect of an EW&F performance is the undiminished state of Phillip Bailey’s soaring falsetto voice. They hit the ground running at Bethel with an uninterrupted string of eight high-energy hits including “Shining Star,” “Getaway,” “Serpentine Fire,” “Sing A Song” and “Got to Get You Into My Life.” The focal points are the three founding members still performing today – the always smiling bassist Verdine White, percussionist and vocalist Ralph Johnson and the extraordinary lead vocalist Phillip Bailey. Even without the presence of their founder and leader, the late Maurice White, the 12-piece band put on a staggeringly energetic and hit-packed show. These are songs that have lived on as samples powering hits by new generations of artists, from Drake to A Tribe Called Quest to Bjork. They are one of the most successful acts in history, selling over 90 million albums, with a litany of Billboard charting singles that betters most acts of their era. Though they are enshrined in the Rock & Roll Hall of Fame and have earned a boatload of Grammy Awards and other honors, Earth Wind & Fire just don’t seem to get the respect they truly deserve.

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The show Sunday, August 21 at Bethel Woods was made even better by the staggering 90-minute plus opening set by Earth, Wind & Fire.

As always, he was again backed by an ace band that served up the crowd-pleasing hits and a few surprises. Each and every time, Santana would rise to the occasion and spit with his guitar “sapphire bullets of pure love,” quoting McLaughlin.

The fourth was also at Bethel Woods, in the summer before Covid-19 descended to darken stages and our lives. My third live experience was when he was even deeper into his jazz phase, a 1988 performance at the Saratoga Jazz Festival with a band co-led by Miles Davis and Weather Report saxman Wayne Shorter. The first two were in the early and mid-‘70s respectively, shortly before and then after his embrace of guru Sri Chimnoy and his legendary guitar battles with another Chimnoy acolyte, jazz fusion great John McLaughlin. I have had the pleasure of seeing Santana live on at least five occasions.