Cindy Blackman Santana Biography, Age, Height, Husband, Net Worth, Family

Age, Biography and Wiki

Cindy Blackman Santana is an American jazz and rock drummer. She is best known for her work with jazz saxophonist and bandleader Carlos Santana, with whom she has been a member since 2010. She has also performed and recorded with a wide variety of artists, including Lenny Kravitz, Joe Henderson, Pharoah Sanders, Cassandra Wilson, and many others. Born in Yellow Springs, Ohio, Blackman Santana began playing drums at the age of nine. She attended the Berklee College of Music in Boston, Massachusetts, and later moved to New York City, where she became a sought-after session musician. In addition to her work with Carlos Santana, she has released several solo albums, including Someday We'll All Be Free (2003) and Another Lifetime (2008). Blackman Santana is married to jazz trumpeter and composer Christian Scott. She is the mother of two children, and currently resides in Los Angeles, California. As of 2021, Cindy Blackman Santana's net worth is estimated to be roughly $2 million.

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Cindy Blackman Santana Height, Weight & Measurements

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Who Is Cindy Blackman Santana's Husband?

Her husband is Carlos Santana (m. 2010)

Cindy Blackman Santana Net Worth

Her net worth has been growing significantly in 2022-2023. So, how much is Cindy Blackman Santana worth at the age of 64 years old? Cindy Blackman Santana’s income source is mostly from being a successful . She is from United States. We have estimated Cindy Blackman Santana's net worth , money, salary, income, and assets.

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Timeline

Drummer Tony Williams was an early influence. "The first drummer I ever saw, where I got to feel the impact up close, was Tony Williams", Blackman said. "When I was 16, Tony came to my local drum store with a bassist and did a [drum] clinic that left a powerful impression on me. And that's what I thought drumming should be: drummers should have a lot of impact and a great sound, without being limited to a conventional role in the band—the drums should speak just as freely as anybody." Blackman says that the way that Williams used all four limbs to attack the drums strongly influenced her. "I just love and loved everything about Tony", says Blackman. "To me, not only was he a master technician, a master drummer, the innovator of the age, but also, he was a sound innovator. He had so many things that elevated the sound and the level of skill required to play this kind of music." But although Blackman is sometimes referred to as a disciple of Tony Williams, she follows her own path. "On the one hand, it doesn't bother me at all to be associated and in line with a master of the instrument like that – Okay, I might not be where I want to be, but I'm on the right track", says Blackman. "On the other hand, I don't plan on being a clone. What I'm doing is always looking to expound on something that he's done, or push the music in a different way".

In 2014, Blackman returned to touring with Lenny Kravitz in support of his tenth studio album, Strut.

After her introduction to drums at her friend's house, Blackman began playing in the school band and persuaded her parents to get her toy drums when she was seven. "Of course those would be broken up in a matter of days", Blackman says. "The only thing I heard at home was, 'we don't know if you can play drums because one, they're noisy, and two, they're very expensive". Some people ask why she didn't study violin or flute like other girls. "I learned very early on – when I was 13 – that when I concentrate on those attitudes, I don't make progress for myself", says Blackman. "If they're not paying my mortgage, I don't care what they think".

While in New York, Art Blakey became a significant influence. "He really was like a father to me. I learned a lot just watching him. I asked him a lot of questions about the drums and music – and he answered all of them. He was fantastic", said Blackman. Blackman initially encountered resistance to a woman playing drums in the jazz world. "I'm a black woman, so I've encountered racial prejudice, and I've encountered gender prejudice. I've also encountered prejudice against my afro when I wore that out. But I've also encountered prejudice against my musical opinions. What I've learned to do is completely ignore that".

In 2010 she released a first tribute album to her mentor and dominant inspiration Tony Williams. Another Lifetime featured Mike Stern on guitar and organist Doug Carn following the line-up of the original Tony Williams Lifetime. As guest musicians appear Joe Lovano, Patrice Rushen and Vernon Reid. Reid is the lead guitarist on the second Williams tribute album Spectrum Road (2012), a collaboration between Blackman, Reid, John Medeski on organ and former bassist of Lifetime and Cream Jack Bruce. Bruce also sings on three tracks of the album and Blackman lend her voice to "Where", originally written by (then Lifetime guitarist) John McLaughlin and sung by Williams (Emergency!, 1969), which already appeared on Another Lifetime in an instrumental version. She appeared at the 2011 Montreux festival, Switzerland, playing drums for husband Carlos's one off reunion with John McLaughlin, after which she helped mix the sound for the video.

On July 9, 2010, Carlos Santana proposed to Blackman on stage during a concert at Tinley Park, Illinois. Blackman is Santana's touring drummer; he proposed immediately after her drum solo. They were married on Maui, Hawaii on December 19, 2010.

Blackman continues to make her home in Brooklyn in New York City. "It's always such an amazing place, with every level of musical accomplishment, you can see complete beginners and you can see innovators. That's why I live in New York. Not only is it tough, but all the greatest people have come through New York", says Blackman. Blackman prefers to play jazz in small, intimate clubs. "It's an acoustic situation. You are close-knit and you are creating one hundred percent of the time – so to me it just doesn't really get any better that!" Blackman also travels extensively conducting drum clinics. In September 2007, she made a tour of South America, teaching clinics in Argentina, Chile, and Brazil, and on November 30, 2007, Blackman and her quartet performed at Art After 5 at the Philadelphia Art Museum.

In 2005 Blackman released Music for the New Millennium on her Sacred Sounds Label. "It's rooted in tradition, but it's not traditional music. It's explorative, very creative, very expressive, and we really try to expand any ideas we have that everything is played over the forms, but we like to stretch it, and really see the colors and make the music grow and move", says Blackman. "We experiment – but it's never free. Everything is written out. I have charts for all the songs. We expand on what's there, and stretch harmonics and note choices".

In an article published May 1, 2004, NPR reported that Blackman had left Kravitz's group to focus on her own music. "I love danceable music, and I love big fat beats and I really dig rock 'n' roll", says Blackman. "But jazz is my heart, it's my love, and I've never left jazz in mind or spirit".

Blackman attended a Baptist church during her teenage years, but became a follower of the Baháʼí Faith at the age of 18; she also started studying Kabbalah in the 2000s. Blackman cultivates spirituality in her musicianship. "I believe that music is so sacred that once you're playing music you are doing the work of prayer, whether you're conscious of it or not, because you have a focused intent", says Blackman. "You transcend, because you're crossing barriers that a lot of people and even us as musicians don't normally venture to, because we don't think about it. When you can learn to move those energies, even if they're sad, into something that is of benefit, like focusing on bringing light to people who are listening, or just to the universe in general, then you can do something good with it. I don't keep that in mind 100 per cent of the time – I'm human – but I try to."

In 1994 Blackman made her first recording with a working group and called the album Telepathy because of the tight communication in the band. "I wanted to do a quartet record because of the amount of space you get with fewer players", she said in Telepathy's liner notes. "It's intimate, but more dimensional than a piano trio. I'm really into this sound, and it was nice to play with a group that was a group. You can't help but have a better feel when the musicians know each other, are headed in the same direction, and have the same goals. You can make most everything work. You get chances to play a lot of colors, and really stretch your ideas."

In 1993, Blackman had an opportunity to work with Lenny Kravitz. From New York, Blackman talked over the phone with Kravitz in Los Angeles, and played drums for him as he listened. Kravitz immediately asked Blackman to fly out to LA. "Lenny asked me can you play something for me over the phone", Blackman says. "So I put the phone down and I started playing something like, BOOSH-bat-bat, BOOSH-BOOSH-BOOSH-bat, and I went back to the phone and I said, 'Can you hear that?' He said, 'Yeah. Can you fly out to L.A. right now?'" "I flew out the next morning. While I'm downstairs waiting for the instruments to come from the studio, these people started coming in. First 12, and then like 30 more. I was like, 'whoa, this is an audition'. I ended up playing and instead of staying for one or two days, I stayed for two weeks and did the first video that I did with him, "Are You Gonna Go My Way". Apart from 2004, I played with him ever since."

In 1984, Blackman was showcased on Ted Curson's "Jazz Stars of the Future" on WKCR-FM in New York. In 1987, Blackman's first compositions appeared on Wallace Roney's Verses album. When an executive at Muse Records heard Blackman's recordings, he offered her a recording contract to lead her own project. In 1988 Blackman released Arcane, her debut as a bandleader. Her band included Wallace Roney on trumpet, Kenny Garrett on alto saxophone, Joe Henderson on tenor saxophone, Buster Williams and Clarence Seay on bass, and Larry Willis on piano.

While she was at Berklee a friend recommended her for a gig with The Drifters so Blackman left college after three semesters and moved to New York City in 1982. Blackman worked as a New York street performer but also got a chance to watch and learn. "I looked for Art Blakey, I looked for Elvin [Jones], I looked for Philly Joe Jones, for Roy Haynes, for Tony Williams. I saw so many great drummers, like Ed Blackwell and Billy Higgins, Louis Hayes. I saw Al Foster play quite a bit, Billy Hart, Jack DeJohnette. All these people, they're in New York so I got a chance to watch them do their thing".

Cindy Blackman Santana (born November 18, 1959), sometimes known as Cindy Blackman, is an American jazz and rock drummer. Blackman has recorded several jazz albums as solo act and has performed with Pharoah Sanders, Sonny Simmons, Ron Carter, Sam Rivers, Cassandra Wilson, Angela Bofill, Buckethead, Bill Laswell, Lenny Kravitz, Joe Henderson and Joss Stone. She was influenced early in her career by seeing Tony Williams perform. In 1997 she recorded the instructional video Multiplicity. "To me, jazz is the highest form of music that you can play because of the creative requirements", says Blackman. Blackman is married to rock guitarist Carlos Santana.

Born November 18, 1959 in Yellow Springs, Ohio, Blackman comes from a musical family, both her mother and grandmother were classical musicians and her uncle a vibist. "My mom, when she was younger, played violin in classical orchestras, and her mom, incidentally, was a classical musician. My mom used to take me to see classical concerts", says Blackman. "My dad was into jazz – Miles Davis, Ahmad Jamal, people like that." Blackman's first introduction to the drums happened when she was seven years old in her hometown of Yellow Springs, Ohio and attending a pool party at a friend's house, she went to use the bathroom and saw a drum set and just hopped onto the set. "Just looking at them struck something in my core, and it was completely right from the second I saw them", says Blackman. "And then, when I hit them, it was like, wow, that's me. That's completely natural for me. It's like breathing for me. It didn't feel awkward at all."

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