Santana Brings Spirital Quality to Earthly Elements August 4, 1992 - St. Louis Post-Dispatch by David Surkamp SINCE HE first appeared on the San Francisco rock scene in the late '60s, Carlos Santana has matured into one of the most acclaimed guitarists and band leaders in America. On Sunday evening at Riverport Amphitheatre, the Latin rhythms that have been his trademark echoed throughout the night air in a bill that also featured Phish. Phish turned out to be a perfect opening act for the concert, with its quirky blend of irreverent lyrics, atonal vamps and exploratory improvisational skills. The band offered a rendition of ''David Bowie'' from its self-produced ''bootleg'' tape ''Junta,'' with some wildly creative soloing from guitarist Trey Anastasio and pianist Page McConnell included in the song's mid-section. Still, as in the case of the Grateful Dead, improvisation is the lifeblood of this inspired quartet, and the interaction of these four musicians was a beauty to behold. For Santana, and the band that bears his name, improvisation has also been a key element. Of course, the improvised rhythmic grooves developed between the congas, timbales and drum kit are tied to centuries-old traditions, but Santana has always managed to electrify the conventional with his unmistakable imprint. Santana's guitar remains the central solo voice of his band, and it took flight ea rly in the set with a stunning display during ''Somewhere in Heaven.'' The song was dedicated to the memories of guitarist Stevie Ray Vaughan, promoter Bill Graham and trumpeter Miles Davis. As I listened to the guitarist wring emotion from the heart of his instrument in tribute, I couldn't help but wonder at the spiritual quality the man wrought from earthly elements like steel wires and human touch. Not that the commercial aspects of the show were left out to dry. Hits, such as the classic ''Black Magic Woman,'' were given full attention. No matter what the lineup of the band might be on any given tour, Santana's rendition of that Peter Green song always transcends fads, styles and even generations of fans. Undoubtedly, the highlight of the evening was the 20-minute jam that included all four members of Phish onstage with the Santana band. Kicking off with a simple, hypnotic, John Lee Hooker-inspired groove, the improvisations extrapolated into freewheeling jazz-styled blowing. The tradeoffs and harmonizing by Santana's and Anastasio's guitars were breathtaking, although McConnell should also be applauded for taking his discordant harmonic ideas to dizzying heights of musical daring. All in all, the pairing of these two acts made for one of the most memorable concerts of Riverport's summer season.