Mikael Santana: Press

Review of Point Of Departure

Remember when you were a kid and your wittiest response to an insult was, "It takes one to know one"? Well that philosophy has paid big dividends for Mikael Santana and the Metrosonics.
Santana is a harmonica player, and a very good one. The Metrosonics are his band, and they are very good as well. Where they really get help on Point of Departure is from producer and arranger Billy Gibson, also a harmonica player, and an excellent one.
Gibson, who also heads up North Magnolia Music Co., knows how to record harmonica. What that means for Santana is a very strong debut release. The 10 Santana originals are more Chicago-style than Delta blues, but it isn't too slick, thanks to the solid grooves of the Metrosonics and Gibson's touch on the control board.
The Metrosonics - drummer John Burgess, guitarists Mark Conklin and "Big Al" Rollag and bassist Slim Louis - deserve major kudos for their work. The focus is on harmonica, but without solid backup, the record would fall apart.
Our favorites include "Not My Problem" and "Point of Departure," on which Gibson adds a second harmonica. Overall, Point of Departure is an excellent starting point for Santana and the Metrosonics. File this under must have by local musicians.

Another review of Point Of Departure

Blues harpist Mikael Santana leads his band, the Metrosonics, through a hot set of up-tempo electric blues that's part Memphis, part Austin and all good. Santana, who writes his material, is more of a roadhouse player than his producer, Billy Gibson. Santana's sturdy, straight-ahead harp-playing fuels many a catchy tune, including favorites Not My Problem, As Soon As We Can, and Be My Baby. And what's not to like about the CD cover, a shot of Santana waiting at a train station with a poster behind him that reads "Discover the Magic of Amtrak.

And yet another review of Point Of Departure

Mikael Santana and the Metrosonics' label is out of Oxford, Miss., but the music on Point of Departure (North Magnolia Music 0006) is contemporary West Coast ("Cookin' It Right" nods to the Mighty Flyers) - that is, a ringer for '50's Memphis and Chicago blues. Crisp harp and low-down yet jazzy guitar soar over a jumping rhythm section. Add one rockabilly number and a pair of Charlie Musslewhite-like excursions, and it's two thumbs up.

A review of In Transit

More jazz - cool, man. Oh wait, it's rythm n' blues, no, it's blues. I don't know what you call it, but it swings and it rocks. Out of Oxford by way of Ardent in Memphis, this is a damned good album - well played and well produced. Billy Gibson throws in some fine harmonica and the rhythm section just lays down a great groove for anything Mikael Santana wants to do.

And another review of In Transit

Garnering help from guitar whiz Sean Costello and the creative half of the junkyardmen - harpist Billy Gibson and drummer John Scalici - performer Mikael Santana beautifully blurs the lines between jazz and blues on his dazzler of a record "In Transit."
A big influence is Mose Allison, especially on the hipster glide of High-Class Automobile (aided by another great musician, pianist Gerald Stephens). Santana also goes south of the border in Sexy Like a Tango, acknowledges Chuck Berry on One More Roll, and nails the jump blues in Express Your Desire. This cat has all the bases covered - not only is Santana a heavy composer, his harp playing lands on all the right notes and his seasoned voice runs the show. Impressive down to the cool CD cover.

And a review of Night Flight

The Mikael Santana Band works from a slate of fine originals on Night Flight (self-release). Santana's voice takes some getting used to; it's more blue-eyed than soulful. His harmonica playing, on the other hand, is plenty convincing, and also impressive is the keyboard work of Randy Westbrook. It's obvious that the band put real effort into the arrangements here__listen to the lively funk of "Jeannine", which breaks down after each verse into a crafty bass riff, giving an extra kick to the subsequent solos. Other cuts that click are the light-footed, winking "Sweet Temptation" and the shuffling "Come On and Dance With Me, Camille".