MALO - DOS

Malo for Warners from 1972.
Hadley Caliman (Saxes), Jorge Santana (Guitar), John L. Watson (Vocals), Francisco Aguabella (Percussion Vocals), Bill Atwood (Trumpet), Jorge Bermudez (Conductor), Forrest Buchtel (Trumpet), Arcello Garcia (Percussion), Arcello Garcia (Vocals), Mike Heathman (Trombone), Richard Kermode (Keyboards), Tom Poole (Trumpet), Rick Quintanal (Drums), Raul Rekow (Percussion), Alex Rodriguez (Trumpet), Leo Rosales (Percussion), Jose Santana (Violin), Richard Spremich (Drums), Pablo Tellez (Bass), Pablo Tellez (Percussion)

Super heavy all killer no filler latin session which blows the shit out the amg review here:
Malo's second album was cut with a lineup that had been reorganized following their debut. It's a little slicker than their first LP and the material isn't as strong. It's nonetheless a strong and invigorating rock/Latin jazz fusion, boasting some really hot playing, both in the ensemble work and improvisation. The six cuts, save one, all run more than five minutes, the closing "Latin Boogaloo" approaching ten minutes in length. Often this is closer to rockified salsa music than it is to the salsified rock music of lead guitarist Jorge Santana's brother, Carlos Santana. Occasional dives into sentimentality, as on the opening part of "I'm for Real," with its floating violin and percussive tinkles, are more than compensated for by some smoking Santana leads, particularly on the hyperactive "Held." "I'm for Real" was the cut most likely to follow up on the success of their "Suavecito" single, both because it was sung in English and because it had traces of the same kind of smoochy soul. Again, it wasn't too typical of the album as a whole, which combined several tributaries of pop with imagination and high levels of musicianship. Sometimes this was stretched out with jamming much more intelligent and fully thought-out than most lengthy, instrumental-oriented rock cuts, particularly on "Latin Boogaloo." . ~ Richie Unterberger, All Music Guide