In another post, I said that "solo" is really not quite the right word for a great solo. A truly great solo is really an interaction between the soloist and the rest of the musicians. This one is a textbook example. Santana's use of sustain in the middle of his solo as a grace note while the rhythm section builds to a climax is just outright spine-tingling, and the ensuing decrescendo, with exceptional unison between soloist and band, brings us back down to earth in a most beautiful fashion.I don't know if Santana still does this, equipment has changed since 1977 when this recorded, but, as part of his preparation for a show, he would find the sweet spots on the stage where he could use positive feedback to get this incredibly long sustain and mark them on the stage with tape.In the video, you can see where Santana turns to his right toward the stack of amplifiers behind him as he plays these notes that seem to just go on for ever.I don't think the video is the same as the recording that was released on the album, but they are, most definitely, from the same tour.Lastly, in my opinion, the collective whole of the percussionists he had on this tour, Paul Rekow, Graham Lear, Jose Chepito Areas and Pete Escovedo, is the best he's ever had behind him.