This weekend was the 40th anniversary of Woodstock. I’ve heard Santana’s “Soul Sacrifice” on the radio several times this weekend and have watched this YouTube video a few times as well.
This performance started my infatuation with world percussion and rhythm culture. From those first conga licks, through Michael Shrieve’s shredding drum solo, and right up to the tight break that ends the song, I was hooked.
I couldn’t have articulated it at the time, but looking at it now, I can sort out some of the appeal.
First of all, there’s a very diverse group of Hispanic, African-American, and European-American guys matter-of-fact-ly collaborating intensely and joyously, exemplifying a generation’s hope for unity, equality, expression, and a bunch of other good stuff.
There’s a tightness to the group that speaks to hours of woodshedding and performing. Woodstock was Santana’s breakout performance, so like a lot of people I had thought of that as their debut, but Michael Shrieve said, “We played like that all the time. The only difference was that performance was filmed.” Man, I wish I could go back in time to those clubs they played in the Bay Area to see their mojo unfolding.
One of the many cool things about the Seattle rhythm community (and the international community of world beat musicians, for that matter) is the accessibility of its icons. I’ve run into Michael Shrieve many times in Fremont and have had the chance to tell him how much his performance meant to me. I’m not alone in this regard, as you might imagine, as this story in the Seattle Times points out, Legendary Woodstock drummer Michael Shrieve now plays in Fremont.
Michael Shrieve’s current band, Spellbinder, plays at Tost in Fremont every Monday night. Usually there’s a cover, but tonight’s show (August 17, 2009) is free to mark the Woodstock anniversary. Hope to see you there. And I hope they play “Soul Sacrifice.”