Santana / Sapporo 1976 / 2CD

Santana / Sapporo 1976 / 2CD / Zion
Translated Text:
Live at Hokkaido Koseinenkin Kaikan, Sapporo, Japan 16th March 1976


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The finest live in Japan of the great heyday is coming. It is included in this work “March 16, 1976: Hokkaido Welfare Pension Center (Sapporo)” performance. Directly obtained the original master that it was recorded in the front row directly from the recordingist himself. It is an audience album which made it direct CD.
At that time, SANTANA grew in scale every time he came to Japan and became huge with 2 performances in Japan (1971) → 12 performances (1973) → 16 performances (1974). For the fourth time “1976”, a large tour finally arrived at the top of career has been realized. First of all, let’s see the huge popularity from that schedule.

· February 20 + 21: Tokyo (2 shows)
· February 22 – March 2: Osaka + Kyoto + Kagawa + Okayama (7 performances)
· March 3rd – 6th: Kyushu (3 performances)
· March 8th + 9th: Hiroshima + Aichi (2 performances)
· March 10 – 13: Kanagawa + Tokyo + Niigata (4 performances)
· March 15: Noboribetsu Muroran Health and Sports Gymnasium
· March 16: Hokkaido Welfare Pension Center 【this work】
· March 17: Hokkaido Welfare Pension Center

It was so huge schedule that I compressed it extensively, but in this way I ran out of archipelago in 21 concerts from Hokkaido to Kyushu. Their performance in Japan is an average of 7.06 performances per tour, so the number of performances will be about three times normal. Although it is SANTANA which will be the 16th Japan performance in April 2017, there is no other scale any more, it was the greatest heyday that will be the most record in a whirlwind. Sapporo performance “March 16th” in which this work was recorded, the latter term among them. It falls on the middle day of 3 Hokkaido performances.
Such maximum taste of this work is fiercely clear sound quality. The beauty is not “wonderful for the 70’s” but the dimension of “Can you record the record of the seventies so far?” As expected, the front row recording should be said, the furthest musical tones are very thick and just like a soundboard. Moreover, it is not just the front row, just in front of the stage center. To be honest, these positions are double-edged swords, and it is not surprising that the venue reverberation wraps around and becomes boiling. However, in this work only direct feeling is caught beautifully, there is almost no reverberant reverberation, even right and left stereo feeling is even. Only the taste of “Center front row” can fully taste the miraculously useful sound.
Anyway, the beauty of this hotly troubled guitar tone …. I can not describe a bit. While vibrato and chalking are super sharp up to the swing width, its “ringing” has plenty of depth and richness. It is a masterpiece of the live performance record which can not be described in the dimension of “line, customer record” any longer.
Even though this recording has been realized, there is a problem. The recording person who made this work a thing is the same person as “SAPPORO 1972: DIRECT REEL MASTER (Sigma 137)” of PINK FLOYD and “SAPPORO 1973 (ZION – 093)” of CHICAGO. Although it is two work that is going to be legendary as early as possible, this work also boasts superior quality that further enhances fame. To tell the truth, this recording itself has also been circulated before, but this time the first genuine master sound. It is the best, the longest and the best best version which totally recorded up to “Evil Ways” which was not in the previous group.
It is also wonderful what popularity exclamation drawn with that sound is also awesome. It consists of four songs of the masterpiece “ABRAXAS” + “AMIGOS” as the main axis, and interwoven “Give And Take”, “Toussaint L’Overture” and “Evil Ways” there. At this point, it was just before the launch of “AMIGOS”, but it is already the core of the show, with “European sorrows” as the lead. The warm welcome of the audience who witnessed it is also recorded at a glance.

A 1976 tour that overcame the popular Japan, as it is the potential of the historical name board “AMIGOS” as it is. It is a masterpiece of that live album which is the vertex record. Master sound which only the sound recordingist himself knew until now. We will deliver it to you at the ultimate complete form including “Evil Ways” which will become worldwide first public.

・3月16日:北海道厚生年金会館 【本作】

これだけの録音が実現したのにもワケがある。本作をモノにした録音家はPINK FLOYDの『SAPPORO 1972: DIRECT REEL MASTER(Sigma 137)』やCHICAGOの『SAPPORO 1973(ZION-093)』と同じ人物。早くも伝説化しつつある2作品ですが、本作もさらに名声を高める極上クオリティ。実のところ、この録音自体は以前にも出回った事もあったのですが、正真正銘のマスター・サウンドは今回が初。既発群にはなかった「Evil Ways」まで完全収録した最高・最長・最良のベストバージョンなのです。
そのサウンドで描かれる人気絶頂ライヴがまた、何とも素晴らしい。大代表作『ABRAXAS』の4曲+『AMIGOS』の3曲を主軸としつつ、そこに「Give And Take」「Toussaint L’Overture」「Evil Ways」を織り交ぜる構成。この時点では、まだ『AMIGOS』の発売直前だったわけですが、すでに「哀愁のヨーロッパ」を筆頭にショウの核。それを目の当たりにする観客たちの大歓迎ぶりも克明に記録されているのです。

歴史的名盤『AMIGOS』のポテンシャルそのままに、絶頂人気の日本を蹂躙した1976年ツアー。その頂点記録たるライヴアルバムの大傑作です。これまで録音家本人しか知り得なかったマスター・サウンド。全世界初公開となる「Evil Ways」も含めた究極の完全形で、あなたのお手元にお届けいたします。

Disc 1(46:25)
1. Introduction 2. Incident At Neshabur 3. Black Magic Woman/Gypsy Queen 4. Oye Como Va
5. Let It Shine 6. Europa 7. Dance Sister Dance (Baila Mi Hermana)

Disc 2(42:59)
1. Give And Take 2. Samba Pa Ti 3. Percussion Solo 4. Toussaint L’Overture 5. Evil Ways


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