Azteca
Band members Related acts
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line up 1 (1972) - George DiQuattro -- piano, clavinet - Joseph Thomas "Coke" Escovedo (RIP 1986) -- percussion - Pete Escovedo -- lead vocals - Bob Ferreira -- tenor sax, flute, piccolo - Wendy Haas -- vocals, keyboards - Tom Harrell -- trumpet - Paul Jackson (RIP 2001) -- bass - Errol Knowles -- vocals - Mel Martin -- soprano sax, tenor sax, baritone sax, flute, piccolo) - George Muribus -- keyboards - Flip Nuñez (RIP 1995) --organ - Víctor Pantoja (RIP 2010) -- congas, vocals - Rico Reyes -- vocals - Jules Rowell -- valve trombone - Neal Schon -- guitar - Jim Vincent (aka Jim Dolinger) -- guitar - Lenny White -- drums, percussion
line up 2 (1972-73) NEW - John Brinck -- drums, percussion (replaced Lenny White) NEW - Bill Courtial -- guitar (replaced Jim Vincent) - George DiQuattro -- piano, clavinet - Coke Escovedo (RIP 1986) -- percussion - Joseph Thomas "Coke" Escovedo -- lead vocals - Bob Ferreira -- tenor sax, flute, piccolo - Wendy Haas -- vocals, keyboards - Tom Harrell -- trumpet - Paul Jackson (RIP 2001) -- bass - Errol Knowles -- vocals - Mel Martin -- soprano sax, tenor sax, baritone sax, flute, piccolo) - George Muribus -- keyboards - Flip Nuñez (RIP 1995) --organ NEW - Pat O'Hara -- trombone (replaced Jules Rowell) - Víctor Pantoja (RIP 2010) -- congas, vocals - Rico Reyes -- vocals - Neal Schon -- guitar
line up 3 (1973-76) - John Brinck -- drums, percussion (replaced Lenny White) - Bill Courtial -- guitar (replaced Jim Vincent) - George DiQuattro -- piano, clavinet NEW - Sheila Escovedo (aka Sheila E.) -- percussion - Joseph Thomas "Coke" Escovedo (RIP 1986) -- percussion - Pete Escovedo -- lead vocals - Bob Ferreira -- tenor sax, flute, piccolo - Wendy Haas -- vocals, keyboards - Tom Harrell -- trumpet - Paul Jackson (RIP 2001) -- bass - Errol Knowles -- vocals - Mel Martin -- soprano sax, tenor sax, baritone sax, flute, piccolo) - George Muribus -- keyboards - Flip Nuñez (RIP 1995) --organ - Pat O'Hara -- trombone (replaced Jules Rowell) - Rico Reyes -- vocals - Neal Schon -- guitar
line up 4 (2007) - Bill Courtial -- guitar - Pete Escovedo -- lead vocals NEW - Mario Gonzalez -- trumpet - Wendy Haas -- vocals, keyboards - Paul Jackson (RIP 2001) -- bass - Errol Knowles -- vocals NEW - Murray Low -- keyboards NEW - Melecio Magdaluyo -- flute, sax NEW - Alex Murzyn -- sax, piccolo - Pat O'Hara -- trombone (replaced Jules Rowell) - Víctor Pantoja (RIP 2010) -- congas, vocals - Rico Reyes -- vocals - Jules Rowell -- valve trombone - Lenny White -- drums, percussion
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- Abraxas Pool (Neal Schon) - Aorta (James Vincent) - Bad English (Neal Schon) - Bebop & Beyond (Mel Martin) - Willie Bobo and The Bo-Gents (Víctor Pantoja) - Benny Carter All Star Tribute Band (Mel Martin) - The Chartbusters (Lenny White) - Courtial (Joseph Thomas "Coke" Escovedo and Errol Knowles) - Double Band (Paul Jackson) - The E. Family (Pete Escovedo) - East Bay Rhythm (Paul Jackson) - Coke Escovedo (solo efforts) - Pete & Sheila Escovedo (Pete Escovedo) - The Exceptions (James Vincent) - Fanny (Wendy Haas) - Eddie Fisher Quintet (Paul Jackson) - Friends Of Howard Wales & Jerry Garcia (James Vincent) - Fuse One (Lenny White) - H.P. Lovecraft (James Vincent) - Hardline (Neal Schon) - The Herbie Hancock Group (Paul Jackson) - Tom Harrell (solo efforts) (Paul Jackson) - The Headhunters (Paul Jackson) - HSAS (Neal Schon) - Giants (Rico Reyes) - Paul Jackson (solo efforts) - Paul Jackson Trio (Paul Jackson) - Jamaica Boys (Lenny White) - Journey (Neal Schon) - Just If I (Neal Schon) - Sy Klopps Blues Band (Neal Schon) - Listen (Mel Martin) - The Loading Zone (Wendy Haas) - Malo (Víctor Pantoja) - The Manhattan Project (Lenny White) - George Muribus (solo efforts) - National Jazz Ensemble (Tom Harrell) - Flip Nuñez (solo efforts) - Planet Us (Neal Schon) - The Players Association (Tom Harrell) - Powerhouse (Lenny White) - Return to Forever (Lenny White) - George Robert / Tom Harrell Quintet (Tom Harrell) - Joe Roccisano Orchestra (Tom Harrell) - Santana (Coke Escovedo, Pete Escovedo, Víctor Pantoja and Rico Reyes and Neal Schon) - Paul Rodgers And Company (Neal Schon) - Neal Schon (solo efforts) - Schon and Hammer (Neal Schon) - Soul SirkUS (Neal Schon) - State Of The Rhythm (Paul Jackson) - The Tenor Conclave (Mel Martin) - The Trichromes (Neal Schon) - Twennynine Featuring Lenny White - Urbanator (Lenny White) - Vertú (Lenny White) - James Vincent (solo efforts) - Lenny White (solo efforts)
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Genre: Latin horn-rock Rating: ** ( stars) Title: Azteca Company: Columbia Catalog: S
65011 Country/State: San Francisco, California Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; Dutch pressing Available: 1 Catalog ID: -- Price: $40.00
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With Columbia enjoying massive success with Santana it was only natural that music labels would start signing Latin rock bands right and left. Among those bands El Chicano, Malo, Sapo and Azteca.
Previously
members of Santana, in late 1971 percussionist Coke and brother/vocalist
Pete Escovedo left the band in order to form their own group - Azteca.
While in Santana the brothers had pushed to include a more prominent Latin
influence in the group's recordings. That set them in conflict with
the rest of the band that favored a more balanced and "commercial"
rock sound. In Azteca the Escovedos sought to implement their
Latin-oriented musical vision. Focusing on recruiting local San
Francisco based artists the initial band line-up was flexible, expanding to
20+ members while
To promote the album Columbia put the on the road opening for Earth, Wind and Fire, Stevie Wonder and other national acts. The album ultimately hit # 151 on the Billboard Album charts.
"Azteca" track listing: 1.) La Piedra Del Sol (instrumental) (Lenny White - Tom Harrell) - 1:13 rating: ** stars The instrumental "La Piedra Del So" opened up the album with the collection's most experimental piece. It wasn't particularly commercial or catchy, but did a nice job of introducing the group's broad sound pallet. 2.) Mamita Linda (James Vincent) - 3:40 rating: *** stars Penned by guitarist James Vincent, "Mamita Linda" was a example of the band's differences from Santana. Starting with lyrics that were in English and Spanish, there wasn't much of a rock influence here, rather the focus was on the bouncy horns and Coke Escovedo's percussion heavy support. Interesting choice as the leadoff single:
- 1972's "Mamita Linda" b/w "Peace Everybody" (Columbia catalog number 4-45762) 3.) Ain't Got No Special Woman (Neal Schon) - 5:59 rating: *** stars Perhaps intended to cover their commercial side, the Neal Schon penned "Ain't Got No Special" found the band going for a more mainstream sound. Powered by Rico Reyes soulful voice, and courtesy of Schon, the album's best guitar solo, imagine The Rascals had they had a Latin background. The song's "chanting" African-flavored midsection was interesting.
- 1972's "Ain't Got No Special Woman" b/w "Can't Take The Funk Out Of Me" (Columbia catalog number 4-45808) 4.) Empty Prophet (Tom Harrell) - 5:27 rating: ** stars Very different from the rest of the album, "Empty Prophet" offered up a conventional, if lyrically dark soul flavored ballad. It just sounded out of place here. 5.) Can't Take The Funk Out of Me (Victor Pantoja) - 4:22 rating: **** stars Errol Knowles' rugged vocals were awesome on "Can't Take The Funk Out of Me". Never would have imagined a Latin horn-rock band would be able to give George Clinton and his crew a run for their money, but they sure did on this one. The song was also tapped as the "B" side to their "Ain't Got No Special Woman" 45.
(side
2) Powered by Paul Jackson's bass lines, Imagine Blood, Sweat and Tears relocating to a Latin community in Southern California and you'll get a feel for "Peace Everybody". Bob Ferreira turned in the extended sax solo. Can't say the anti-war lyrics or "group" vocals (which were basically the title repeated time after time after time) did much for me The song was also used as the "B" side on their "Mamita Linda" 45. 2.) Non Pacem (Tom Harrell) - 6:39 rating: ** stars "Non Pacem" opened with the band shifting their attention to jazz-rock fusion with a touch of Latin rock added to the mix.. This time out Harrell and Martin took the instrumental spotlight with extended trumpet and sax solos. As always Jackson's bass added a touch of funk to the mix; Pete Escovedo, Wendy Haas and Errol Knowles contributed smooth vocals, including a brief dive into Latin dance moves. Ultimately the track was just too disjoined for me to enjoy. 3.) Ah! Ah! (Tito Puento - Pete Escovedo) - 3:24 rating: **** stars With Spanish lyrics, "Ah! Ah!" was easily the album's most Latin and commercial offering. I originally thought this was Pete Escovedo on lead vocals, but read somewhere it was actually Rico Reyes. Shame the song was so short. 4.) Love Not Then (Ed Courtial) - 5:00 rating: *** stars A sweet, almost MOR ballad, "Love Not Then" would not have sounded of place on a Fifth Dimension album. Surrounded by heavy orchestration, the song served as a nice showcase for Haas' pretty voice, but was otherwise forgettable. Courtial would go on to replace guitarist James Vincent on the band's second album. 5.) Azteca (instrumental) (Al Bent) - 4:45 rating: ** stars The instrumental title track captured the band at their most jazz-rockish. Imagine a Latin Jeff Beck Group backed by The Tower of Power. This one gave White and the percussionists a chance to showcase their talents. 6.) Theme: La Piedra Del Sol (instrumental) (Lenny White - Tom Harrell) - 1:52 rating: ** stars "Theme: La Piedra Del Sol" closed the album was an instrumental reprise of the opener. Powered by White's martial drums the track had a nice enough groove, but wasn't essential.
© Scott R. Blackerby March 2026
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playing live. Signed by Columbia (Santana's label), their 1972
self-produced album listed seventeen members including the Escovedos,
lead guitarist Neal Schon and drummer Tony White. Imagine
had Carlos Santana decided he wanted to
add a horn section to his band. Or perhaps imagine Blood, Sweat and
Tears wanting to add a Latin rhythm section to their repertoire ...
Either way that should give you a feel for "Azteca".
With seven of the members contributing material, the collection featured a
mixture of Latin-tinged horn-rock ("Peace
Everybody"), Latin-tinged jazz-rock
fusion ("Non
Pacem"), funk ("Can't
Take The Funk Out of Me") commercial
ballads ("Love Not Then") and even a splash of traditional Latin
music (the Tito Puento co-written "Ah!
Ah!"). The album was rounded
out by three outside covers. Anyone looking for a dose of
Santana-styled rock was probably going to be disappointed by this
collection. I found the overall sound very diverse; but where
fans clamored over their "complex" sound, I found it cluttered and
ultimately unfocused making it hard to get a grip on the overall
project. Diverse isn't necessarily a bad thing, but I was left with
the impression I was listening to a band trying to it all and in the process
managing to be proficient, if seldom more than that.
