More than 50 years after captivating Woodstock with “Soul Sacrifice,” Carlos Santana returns with his new album *Blessings And Miracles*. The opening track, “Santana Celebration,” contrasts sharply with his earlier work, reflecting the shift from a quest for spiritual enlightenment to a celebration of his legendary status. At 74, Santana stands as one of the few remaining icons from the cosmic era of the 1960s, following in the footsteps of Jimi Hendrix. Yet, despite his iconic status, the self-praise in “Santana Celebration” reveals a disconnect, as Santana often seems overshadowed on his own album.

Collaborations on Blessings And Miracles show a range of success. The track “Move” with Rob Thomas rekindles the magic of their previous hit “Smooth,” though Santana’s contributions sometimes feel secondary. Steve Winwood’s take on “A Whiter Shade of Pale” and Corey Glover’s powerful performance on “Peace Power” highlight Santana’s role as a collaborator rather than a focal point. However, some pairings, like the one with Kirk Hammett on “America For Sale,” fall flat, and tracks with artists like G-Eazy and Chris Stapleton feel underwhelming. Despite these issues, the album features moments of vitality. Songs like “Breathing Underwater,” with vocals from Santana’s daughter Stella, and “Angel Choir/All Together,” which leans into Latin jazz, showcase Santana’s enduring talent. The rhythm of “Mother Yes” evokes Hendrix’s spirit, underscoring Santana’s unique sound. While the album’s extensive roster of guest artists sometimes overshadows Santana himself, his ability to shine on select tracks affirms his lasting influence in music.