Malo -

Malo was an American Latin rock band from San Francisco that released four albums between 1972 and 1974 on Warner Bros and charted with “Suavecito.”

Members: Arcelio Garcia (percussion, vocals), Jorge Santana (guitar, vocals), Abel Zarate (guitar), Pablo Tellez (bass), Richard Kermode (keyboards), Luis Gasca (trumpet), Richard Spremich (drums), Richard Bean (percussion, vocals)

Background

Malo formed in 1971 when guitarist Guillermo “Jorge” Santana teamed with two members of The Malibus: singer Arcelio Garcia and bassist Pablo Tellez. They joined forces with three members of another unsigned group, Naked Lunch: guitarist Abel Zarate, saxophonist Roy Murray, and drummer Richard Spremich.

Their blend of rock, jazz, blues, and Latin music impressed Bay Area mogul David Rubinson, a prior Chambers Brothers and Moby Grape producer who brokered the Columbia deal for Jorge’s older brother and his band, Santana.

Malo

Malo released their self-titled debut album in February 1972 on Warner Bros.

The album blends Latin rhythms with rock, soul, and jazz-infused instrumentation, showcasing the ensemble’s dynamic brass charts, layered percussion, and dual guitar work. It established Malo’s identity beyond Santana comparisons while highlighting Jorge Santana’s fiery guitar and Arcelio Garcia Jr.’s commanding vocals.

García Jr. co-wrote five tracks with guitarist Abel Zarate, joined on “Café” by Jorge Santana. They co-wrote the balance with bassist Pablo Tellez. Side A contains “Just Say Goodbye,” a Mongo Santamaría cover rearranged by trumpeter Luis Gasca.

Malo opens with “Pana,” a Mexican rock piece that sets the tone for extended, percussion-driven tracks. “Just Say Goodbye” combines Santana-style electric guitar with harmonic lounge interludes, while “Café” features sharp guitar interplay. “Nena” drives forward with powerful horns, pounding percussion, and fluid Hammond solos. “Suavecito” layers soft Latin rhythms with a memorable chorus, and “Peace” closes with a mix of hard and soft rock elements, emphasizing the ensemble’s improvisatory skills.

A1. “Pana” (6:45)
A2. “Just Say Goodbye” (8:00)
A3. “Café” (7:21)

B1. “Nena” (6:28)
B2. “Suavecito” (6:36)
B3. “Peace” (9:21)

Sessions occurred at Pacific Recording Studios, San Mateo, California during Fall 1971 with producer and recording/mixing engineer David Rubinson and recording engineers Fred Catero and Jerry Zatkin. Malo features cover art by Mexican painter Jesús Helguera (1910–1971).

The single “Suavecito” peaked at No. 18 on the U.S. Billboard Hot 100 and No. 12 on the Cashbox Top 100.

The album reached No. 14 on the Billboard Top LPs chart and No. 10 on the Billboard Soul Charts, cementing Malo’s reputation for energetic Latin rock fused with soul and jazz textures.

Dos

Malo released their second album, Dos, in November 1972 on Warner Bros.

The album continues the band’s fusion of Latin rhythms with rock and jazz-inflected instrumentation, replete with layered percussion, expansive horn charts, and Jorge Santana’s fiery guitar work. It captures Malo’s ensemble energy and showcases their reconfigured lineup with expanded brass and percussion sections.

Pablo Tellez wrote “Midnight Thoughts” and co-wrote “Momotombo” with Abel Zarate, who co-wrote “Latin Bugaloo” with Arcelio Garcia, Jr., who co-wrote one track each with Jorge Santana (“I’m For Real”), Leo Rosales (“Oye Mamá”), and Francisco Aquabella (“Helá”).

Dos opens with “Momolombo,” a percussion-driven track that sets a vibrant tone. “Oye Mamá” blends layered rhythms with García Jr.’s vocals, while “I’m for Real” integrates floating violin textures and delicate percussion alongside Santana’s guitar leads. “Midnight Thoughts” provides a concise, contemplative interlude. “Helá” layers Afro-Latin percussion with horns, and “Latin Bugaloo” closes the album with nearly ten minutes of extended improvisation and ensemble interplay, emphasizing Malo’s command of Latin jazz-rock fusion.

A1. “Momolombo” (5:06)
A2. “Oye Mama” (6:03)
A3. “I’m for Real” (6:39)

B1. “Midnight Thoughts” (3:58)
B2. “Helá” (5:06)
B3. “Latin Bugaloo” (9:31)

Sessions occurred at Pacific Recording Studios, San Mateo, California with producer and mixing engineer David Rubinson & Friends, Inc. and recording engineer Fred Catero.

Dos reached No. 13 on the 1972 R&B Albums chart.

Evolution

Malo released their third album, Evolution, in April 1973 on Warner Bros.

The album continues Malo’s blend of Latin rhythms, rock, and jazz-inflected instrumentation, though the ensemble takes on a more restrained, fusion-oriented sound. Key members Jorge Santana, Pablo Tellez, and Arcelio Garcia anchor the material, while the supporting lineup shifts across keyboards, brass, and percussion.

Ron Smith and James Cicero wrote “Moving Away.” Sonny Henry wrote “I Don’t Know Why.” Francisco Aquabella co-wrote “Merengue” with Arcelio Garcia, Jr. Pablo Tellez co-wrote three tracks with Arcelio Garcia, Jr., Ron DeMasi, and Ismael Versoza. Ron DeMasi also co-wrote “All for You” with Jorge Santana and Tellez, while Forrest Buchtel co-wrote “Dance to My Mambo” with Garcia, Jr.

Evolution opens with “Moving Away,” a structured, extended instrumental led by brass and electric guitar. “I Don’t Know Why” targets a more soul-oriented, singles-friendly sound. “Merengue” and “Dance to My Mambo” highlight the band’s Latin jazz roots with layered percussion and horn interplay. “All for You” and “Street Man” balance lighter pop elements with taut, funk-inflected arrangements, while “Entrance to Paradise” combines bass-driven motifs and ensemble interplay across nearly five minutes.

A1. “Moving Away” (7:17)
A2. “I Don’t Know Why” (6:04)
A3. “Merengue” (7:03)

B1. “All for You” (4:04)
B2. “Dance to My Mambo” (4:40)
B3. “Entrance to Paradise” (5:09)
B4. “Street Man” (5:05)

Sessions occurred at Pacific Recording Studios, San Mateo, California with producer and remixer David Rubinson and engineers Fred Catero and Jerry Zatkin.

Ascencion

Malo released their fourth album, Ascencion, in February 1974 on Warner Bros.

The album leans further into pop-oriented Latin rock while retaining the band’s layered percussion, horn charts, and guitar interplay. New lead vocalist Willie G shifts the focus toward romantic and soul-inflected material, complementing core members Jorge Santana, Pablo Tellez, Francisco Aguabella, and Ron DeMasi.

Ron DeMasi plays organ, clavinet, electric piano, Mellotron, synthesizer, and vibraphone. He wrote two tracks (“Think About Love,” “Close to Me”) and co-wrote an additional two (“Chevere,” “Love Will Survive”) with bassist Pablo Tellez, who contributed “Tiempo de Recordar.”

Jorge Santana composed the album’s bookend tracks (“Offerings,” “No Matter”) and co-wrote “Everlasting Night” with outsider Bob Lazaneo. Ascencion also contains songs by conguero Francisco Aguabella (“A la Escuela”) and Sapo trumpeter Ron Smith (“Latin Woman”).

Ascencion blends romantic soul and Latin rock with occasional funk-pop accents. “Offerings” and “A La Escuela” highlight Latin percussion and guitar solos. Santana’s electric guitar and speeded percussion return on “Everlasting Night” and “No Matter.” Mid-album cuts like “Love Will Survive,” “Think About Love,” and “Close to Me” emphasize DeMasi’s keyboard textures alongside Tellez’s rhythmic bass lines, while “Latin Woman” and “Chevere” merge horn arrangements with ensemble interplay.

A1. “Offerings” (5:40)
A2. “A la escuela” (3:15)
A3. “Everlasting Night” (4:10)
A4. “Latin Woman” (4:05)
A5. “Chevere” (3:58)

B1. “Love Will Survive” (3:47)
B2. “Think About Love” (3:26)
B3. “Tiempo de recordar” (3:17)
B4. “Close to Me” (2:40)
B5. “No Matter” (6:55)

Sessions occurred at Pacific Recording Studios, San Mateo, California with producers Jorge Santana and Fred Catero, who also handled recording and mixing, alongside engineer John Vieira.

Discography: