Music review
Shelly Lares Reigns Radio Airwaves and Concert Stages
Shelly Lares has grown up.
She is not longer the little 12-year-old singer with Hot Tamales this writer met in 1983 and had yet to record her first single with said band until 1986 before being signed to Colores followed by RP/Sony Records and Manny Guerra releasing her first long-play vinyl album in 1991.
To date, the two time Grammy Award nominee and business savvy songbird has been a restaurant owner, a radio personality, is now the owner of her own record label and as for her future, the sky’s the limit with the Divine guidance of God.
“I don’t have publicists and all these things working for me. I pick out all my own material. I am my own producer. I’m involved in the mixing and the mastering. You name it. I wear a lot of hats right now. But I’m not alone. I’m not afraid at all because my precious Jesus is with me and I have a great family, who is the foundation of what I do and I wouldn’t be here if not for them,” Lares said during an interview in the VIP section of the Fats Tuesday event at Wonderland of the Americas.
“Even in my Manny days, I was mixing. That’s why it (her new compact disc) is going to be like anybody else’s. It’s going to be me and my new single, ‘Maldito Corazón (‘Mean Hearted’),’ is going to set the standard for what the rest of the CD will be because we take a lot of pride on the CD as a whole and not for just a couple of singles. We do our best to be sure each song from one to ten will stand out on its own. That’s why we’re more selective on what I do, because in the long run, it is going to pay off for us,” she continued.
“There’s no school for our industry. You just have to dive into it.”
“Maldito Corazón” is a tune written by Carmen Ravena, a proven songwriter with hits by Gary Hobbs and Jimmy González y Grupo Mazz.
“The song is about a woman getting tired of taking her man’s crap. He was not faithful to her and she’s tired of suffering,” Lares explained.
In regard to the selection process, Little Miss Dynamite said, “You know it’s a great song when you first hear it. Just don’t send me an arranged song because I’m going to change it. J.J. Reyes and I been working since 1989 and we knew how we wanted it to be. We still know how to write and how to produce. So we disregarded the pre-arranged version and re-arranged it to suit my style.
Lares added that the Tejas Records released “Mirando Adelante” was the first CD in her entire career that she did not arrange and produce and hence the reason it did not do well.
“The true fans know what’s up,” she added. “This next CD will take my fans on a musical journey and that’s why I’m taking my time. But we released the single to tell people, ‘hey, we’re still here.’
Lares says she named her own label, Shell Shock Records 3, because it’s a name she’s had in mind fifteen years and because the name makes an impact.
What few people realize is that Lares moved to Lubbock, Texas in the winter of 2005. There, she owned and ran Don Lencho’s Cocina.
“It did really well and I went into a difference business venture so I wouldn’t have to rely on the road for income,” the 39-year-old Tejano Roots Hall of Fame inductee explained.
Another little known fact is that while there, she also did a stint as a radio personality at KXTQ Magic 93.7, where she worked the 3-7 p.m. evening drive slot.
“That I did as a novelty,” the petite warble said.
It was also in Lubbock that Lares was invited to attend Templo Jerusalem, where she sang and eventually became the youth director.
“As a child, I went to Catholic school, but I never took my Bible to class and here I started feeling the Holy Spirit. Before I never glorified and it was here I felt God put his arm around me in a warm embrace. I thank God for sending me to Lubbock and now I give all the honor and glory to him.”
By spring 2010 Lares had to choose between the restaurant and music and as she says, “Music was always going to come first. During my five years in Lubbock, I took a step back and I wasn’t completely out. I was just trying other things.
“The main reason I came back home was to start my label and record myself in my own way. This is my hometown. My office is here and my parents are such a big important part in my life that the label would have to be here 24/7.”
In regard to Lares’ musical career, which has seen its share of blood, sweat and tears, she has turned her life over to God.
“He’s in total control all of the time and he will definitely give you all of the blessing. I’m here by the Grace of God and as for my absence, just consider me re-charged; now God is working through me.”
“Maldito Corazón,” which men like because of her vocal performance, is fresh and will catch today’s youth with its instrumentation and the new CD is going to blast everyone out of the water when it comes out.
Best of all, her single can be downloaded at www.shellylares.us and those who subscribe to her Web site also receive a free ringtone and the choice of one of her classic hits.
Next on Little Miss Dynamite’s list of things-to-do is to record a full Christian CD and embarking on a Christian tour with Javier Galván.
A look at Lares’ calendar shows that locally, she is performing at the Tejano Music Fan Fair on Sunday, March 20 at 7 p.m.
This gig is followed by performances at the Poteet Strawberry Festival on April 3 and at Fiesta 2011 on April 17.
A.B. Quintanilla’s All Starz Hypnotize with “Hipnótika”
A.B. Quintanilla’s All Starz is no understatement because an all-star ensemble participated in “La Vida De Un Genio,” his latest musical production.
His own All Starz are vocalists Jason “DJ Kane” Cano and Lee “JR” Gómez, Chris Pérez, guitar; Gilbert “Gipper El Animal” Nieto, accordion; Robert “Bobbo” Gómez, keyboards; Nick Banda, keyboards; Liz, congas; and Joey Jiménez, drums.
However the list of Class-A international all-stars which recorded on different tunes in his most recent compact disc are José Feliciano, Jon Secada, Gilbert Santa Rosa, Marciano Cantero of Enanitos Verdes, Shaila Dúrcal, Julio Ramos, artistically known as Voltio, Jorge Celedón, Alex Lora of El Tri, Albita, Luis Enrique, Reyli Barba plus other surprise artists.
This coup d’état was made possible by Luigi Gilrado, the groups musical arranger. Last but not least are the remaining Dinos, Suzette Michelle Quintanilla, Pete Astudillo, Ricky Vela and Joe Ojeda, who are recording and performing together for the first time since 1995.
The All Starz arrived in San Antonio straight from Chiapas, Mexico and before that they had put on shows in Bogota, Boliva and Medallin, Colombia. But jet-lagged as they must have felt during their sound check at Sea World, they were energetic and in great spirits.
Backstage, AB, who wrote the entire contents in this compact disc, said, “I dedicated this CD (“The Life of a Genius”) to my dad because my father is a genius and at the beginning, we sometimes experienced hunger, but he pulled us through this and many other obstacles by pushing us to the limit. And I’m glad Ricky (Vela) was able to pull everyone together for this project.”
When they appeared on the Cristina Show on Monday, May 10th, Cristina looked over at his father and said, “Abraham, it’s hard to see if you are happy or proud because you always have the same stern face.” But off camera, around family and close friends, Abraham smiles, laughs and his face glows with love and pride for his kids and grandchildren.
AB’s pride in his family and his love for his late sister, Selena is overt because it is tattooed all over his body. His right forearm alone bears a beautiful tattoo of Selena surrounded by roses and the song title, “Cómo La Flor.” The latter actually preceded the image and roses. On his wrist is “Marcella,” his mother’s name. Skipping the thumb, four fingers bear his birth year on his right hand and the word “Loco” on his left hand. And that’s just the beginning. Enough said this article is on the CD and not the tattoos.
From the opening notes, “Hipnótika” mesmerizes the listener with a James Bond theme-like intro followed by a creative mix of vocals by DJ Kane and Marciano plus Voltio’s rap. During live performances, AB and JR fill in for the two guest artists.
The same applies to “Naci Para Sufrir,” a haunting international ballad with a taste of mariachi featuring Feliciano and Astudillo. Again, JR fills for Feliciano at each gig.
While the Capitol Latin CD is being described in concept as like Santana’s “Supernatural” album because of the number of guest artists, A.B. told Billboard’s Ayala Ben-Yehuda, “It’s cumbia villera but on steroids.” By this he was referring to a mid tempo, synth-heavy street style with a nearly reggae beat.
“I was able to take what they’re doing with scratchy, raw loops and put electrónica on top of it and layer that with tropical brass and the A.B. Quintanilla flavor. And just went to town on the singers alone . . . it’s eclectic, weird, down to Jorge Celedón singing with El Tri on ‘Dia de Los Muertos’ with the harmonica playing on a cumbia — it’s the weirdest, coolest thing you’ll ever hear.”
The album is scheduled to go on sale, here and in Mexico, on Tuesday, May 18th. However, fans were privy to hearing a preview of some tunes during the All Starz’ Sea World concert. Then AB stayed at the Hyatt Regency Hill Country Resort in the Alamo City until Monday in order to do an exclusive early morning interview with Jonny Ramírez at KXTN, Tejano 107. That same night everyone appeared on the Cristina Show.
Following the initial release, Capitol Latin is considering an August release in Colombia, Argentina, Chile, Spain and even Japan. Meanwhile the record label will have AB on an extensive grueling promotional tour of radio stations, television programs, meet-and-greets plus even doing acoustic sets at Wal Marts all over the United States.
As for this writer, I thank Abraham for inviting me and Jesse García of Los Agues to accompany him to Sea World and afterwards giving me a flashback to the past when after the show, we pulled into a Whataburger parking lot and he gave me an audio sneak preview into his latest musical discoveries – Elissa and Olinda Cordova — more on these two talented young songbirds in a future article.
For more information, check out www.myspace.com/abquintanilla and www.q-productions.com.
The Best Guitarist in Mexico Calls San Antonio Home
Gilberto Puente and his twin brother Raúl rank among the “Worldwide Top Five” in the history of Mexico’s Golden Age of Trios.
Aside from that honor, maestro Rubén Fuentes, a classically trained musician, who has served as composer, producer, arranger and director with Mariachi Vargas, the “World’s Best Mariachi” for sixty years, named Gilberto “La Guitarra de México.”
In addition, Gilberto is also considered one of the best requinto players in the world. That’s quite an accomplishment for someone born in the small town of Anahuac, Nuevo León, México and whose parents, Gilberto Puente Quintero and mother Amparo González had no musical inclination.
“The only musician in our family was Tio Jose “Pepe” González and he played bajo sexto,” Puente said during an interview at his Northeast San Antonio home.
In 1945, his parents moved to Nuevo Laredo, Tamaulipas where he continued his education.
“I was nine when my elementary school teacher, Juanita Pacheco, asked our class if anyone played an instrument, sang or recited poetry and nobody raised their hand. This was in February and the school was looking for talent for a Mother’s Day show.
“I didn’t even have a guitar, but they lent me one and I had to learn how to play it by May. That’s how I began,” the world famous guitarist explained.
A year later, his brother Raúl also learned how to play guitar and they formed Los Cuatitos Puente (The Puente Twins). Their first break came in 1947 when they met Felipe “El Charro” Gil, who later married San Antonio’s own Eva Garza.
Felipe’s brothers are Chucho and Alfredo “El Güero” Gil, the latter being one of the original Trio Los Panchos. With Felipe, Gilberto and Raúl recorded two songs written by Felipe Valdes Leal as 78-rpm singles for Discos Colombia.
With the addition of their brother, Gustavo, they started out the decade as Trio Los Hermanos Puente.
“In 1954, we lied to our father, who was an accountant. We told him we were going to Mexico City to work at a bank, but it was really to try out our luck as musicians at hotel restaurant bars,” Gilberto revealed.
“At Hilton Hotel, we performed for Jorge Negrette, Maria Felix, Dolores Del Rio plus many of the celebrities that stayed there and they would give us $100 peso tips. It was circa this time and at Los Globos Night Club that Virginia López baptized us Los Tres Reyes.
Gilbert was only twenty when he custom-designated his own requinto.
“The regular requinto had 18 frets and I extended mine to 23 frets; and most important, I did a recorte (cut inset) to my left hand would reach the high notes without any problem.
“We were doing well and in 1957, we read that Hernando Avilés had quit Los Panchos. So we invited him to join us,” the 74-year-old famed guitarist continued.
The following year they signed with Rogerio Azcárraga Madero’s Orfeón Records, they recorded “Odiame,” a song written by Federico Barret with music written by Rafael Otero López and which Los Panchos had turned down five years prior. Then it went on to sell ten million records.
“The most famous trios during the 1950s – in the order they were ranked worldwide — were Los Panchos, Los Diamantes, Los Ases, Los Cabelleros and us.”
“Incidentally, ‘Tristezas’ by José ‘Pepe’ Sánchez, considered to be the creator of the Cuban bolero, was registered in 1883,” Roberto “Bebo” Cardenas added.
In 1959 the trio recorded Bobby Capo’s “Poquita Fe” and that turned into another multi-million selling single. Their career skyrocketed as they toured all over the Latin Hemisphere on their own and also backing up Libertad Lamarque, Lola Beltran, María Luisa Landin, and Lalo “El Piporro” González. These tours included performances at the Alamo City’s Alameda Theater.
In the process, they reached the Silver Screen when they appeared in “Yo Quiero Ser Artista” backing up Virgina López on “Celoso;” and accompanying Agustin Lara on “Perdon” and “Hasta Morir.” Other films they appeared in were “Sin Carátula” and “Oro Blanco, Droga Maldita.”
They beat out Elvis Presley in popularity during the late 1950s, but when the Beatles hit the scene and English music invaded Mexico, trios started to lose popularity and in 1966, Los Tres Reyes disbanded.
However, they didn’t hang up their gloves completely. The twin brothers forged ahead as a part of numerous bands and orchestras that backed up Marco Antonio Muñiz and other Mexican greats.
Gilberto also wrote “O Papa Gallo” with a bossa nova beat and it was included in a movie soundtrack.
Twenty-two years later, in 1988, they regrouped with Johnny Albino on lead vocals. The Puerto Rican vocalist was also a former member of Los Panchos. Then he was replaced by Leonel Gálvez, of Los Tres Caballeros, followed by Luis Villa, who came onboard in 1993.
In between Gilberto continued to be in demand as a songwriter, a guitarist and a requinto player and joined Linda Ronstadt on her “Canciones de Mi Padre” sixty-city Tour.
He also backed up Placido Domingo, Vikki Carr, Pepe Jara, Fernando de La Mora and Soledad Bravo.
In 2004, Bebo Cardenas became the trio’s lead singer.
Three years ago, Gilberto, Raúl and Cardenas entered a recording studio in Hollywood to record “Hay Amores” with Shakira for inclusion in the movie soundtrack of “Love in the Time of Cholera.”
“We were recommended for this project by Andrea Bocelli’s guitar player,” Puente said.
This year alone, Los Tres Reyes have performed with the San Antonio Symphony, performed for a Smithsonian Museum National Folklife Festival in Butte, Montana and recorded a 20-song compact disc for the Smithsonian Institute.
Los Tres Reyes just returned from Puerto Rico and on September 28, they are headlining El Festival de Trios in Cali, Colombia.
As music icons, dozens of Los Tres Reyes videos can be seen on www.myspace.com and there’s a kick-butt Q-Productions video and CD available at most record stores.
The one thing this writer did note is that in spite of their worldwide success, this legendary trio has yet to receive one award or be inducted into any music hall of fame; and it’s sad to know these icons have been overlooked for their contributions to music.
On Friday, September 24, Gilberto and Raúl will accompany Cardenas when he performs “Tierra Mexicana” at the Sing for Hope and Justice Awards show to be held at the Restoration Centre at 6401 Bandera Rd. Pre-sale tickets are available to Del Bravo and Janie’s record shops. For more information call Dr. Paul Ruiz at (210) 979-0575.
Small World Jazz Jam at Olmos Pharmacy
Story and photos by Joseph Martinez
On the corner of McCullough and Hildebrand you will find the beautiful Art-Deco building illuminated with bright green and red neon lights. Once Known as the “Olmos Pharmacy”,
The Night was cool as I walked in on a Monday night. I found out it was “Small World Jazz -Jam “. For a short moment I thought I was in Boston and saw “Norm” from the TV Show “Cheers” Actually It was more of a ambiance feeling I had walking through the doors.
Taken care of customers I met was with a friendly smile of Carlos Padilla. Running the food counter is Patty lou Reisz . Even if the counter is closed, she would try to whip something up to keep the customers happy. Handling talent and booking you find Kyle keener.
A wide collection of different jazz player were on hand, enjoying each other’s talents as the audience look on focusing on every song that was played. Songs made popular by Nat King Cole, Frank Sinatra and many others.
Between changes of the jazz players there was Poetry by Ms Catherine lee reading “What makes it jazz poet-try?” and Miss Valerie Thibodeaux-mony reading “The Stars or The Eyes Of Angels” set to the sounds of smooth jazz.
The following is a partial list of the musicians that was playing.
Polly Harrison*Electric guitar / Martin* Baritone Sax / Oliver Hill *Flugel Horn /
Rich Oppenheim*Alto Sax / Kyle Keener*Drums-Voice-MC / Chuck Glave* drums / Donald*Electric Bass/ Chuck Moses* Upright Bass / My apologies to any anybody I have missed.
So many different songs so little time. Sadly the night had to come to an end with one last tune. Cry Me A River sung by John in his dark red shirt.
If you want a Enjoyable soft jazz evening sipping on some wine or a cold beer, Join them some evening, you won’t be disappointed.
See their list of events at http://www.olmosbharmacy.com/
Whatever Happened to David Marez?
Photo and story by Roberto Álvarez
This crooner has not disappeared, there’s just less airplay plus fewer and fewer Tejano music venues.
When David Marez sings, his smooth yet raspy voice glides effortlessly through each song as though his throat was naturally coated with honey. Lyrically, he dissects and hones each song to perfection.
His romantic vocal delivery is as flawless as Dyango, Emmanuel and Roberto Carlos. However international fame has eluded him because the quality of his voice is lost with cumbia and ranchera musical arrangements which mask and take away from his vocal prowess.
Now twelve vinyl albums, five cassettes and almost a dozen compact discs later, Marez is back with more of the same excellence.
“My latest release, on Joe Posada’s Baby Dude Records, is ‘Eclipse Total,’ a duet with Leslie Lugo,” Marez said during a recent interview.
“Then there’s ‘Quisiera Ser,’ a straight up love song about the joy of being in love with my woman. Going down the line, the next tune is ‘Confieso.’ This one deals about any situation when you tell your woman that you don’t want to be with her anymore,” Marez continued.
Then he went on to describe ‘En Privado’ (‘In Private’) as a tune that describes a how a girl’s shyness can be misunderstood as being stuck up, reserved, cold and unfeeling, yet behind closed doors, the lyrics go on to describe her as a tigress in sexy graphic detail.
“Before I was into flash,” the Mathis, Texas-native admitted in regard to his earlier works. “When I begin singing, I was too immature. Then, as I got older, I finally understood what I could say and what I could do with my voice.
“Now the written words to me are important because these are the lyrics that reach out to me and I think I’m finally getting it right. Lyrics say something and it’s more than singing in tune and carrying a tune. Anyone can do that. To give a song life, to inject the true feeling intended by the songwriter is important; and that somebody is truly listening to me, that is beyond applause.
“I love ‘Anemia’ by José Alfredo Jiménez because the lyrics are a part of my life as they say, ‘You remember me, right? I’m sorry, but I don’t remember because you hurt me so bad.’ People pretend they don’t remember that person. They get back on their feet, but inside they still hurt.”
As a songwriter, Marez himself has only written about twenty songs because he’s more into the interpretation. They may be few, but they are strong numbers that dig deep into his inner most feelings.
“A very important point besides the message is to have a catchy hook. Then, even thought you can do your best in the studio. Following a vocal guide, the original straight vocal performance does not always carry the emotion. You realize this more and more you perform it. The more you sing it at gigs, the more the tune opens up to you. When you find out what the lyrics really mean you start to reflect those feeling in your delivery and you improve your vocal phrasing and gestures as you hone the tune to perfection. That’s why I’m more demonstrative in live performances.
As a result, Marez does not like to record new songs too quickly because he feels that the rendition won’t be as warm and that the process is very mechanical at that stage.
His advice to new recording artists is: “First you have to learn the tune, than you break it down into measures, bars, cue, and etcetera. But after you learn it, it’s engraved in your mind. However, it won’t have the same intensity and feeling that you can put into it a year later – that’s what’s difficult to do in a studio.
“I let the song come first and the rest second because the mind and energy shouldn’t split. One should put all his heart and soul into each song. The performer should feel emotionally drained at the end of a performance because he has live every emotion,” the Burbank High School graduate said in closing.
Yes, the 61-year-old singer-songwriter has come a long way since recording “Jack and Jill” in duet with Joe Jama as a member of the Eptones for Epstein Records in 1965. Since then, he has received numerous awards. His voice can be heard in about a dozen radio and television commercials, he has performed in over eight states and has appeared in virtually every Tejano television program in Monterrey, Nuevo Leon and Mexico, D.F.
If you haven’t seen Marez in action, he will be performing at the Henry B. González Convention Center on Friday, Dec. 17 at the San Antonio Housing Authority Christmas Party. The next day, on Saturday, he is headlining at South Dallas in McAllen, Texas.
To listen to all of his CD, to see more pictures or for booking information, go to www.davidmarezandpeople.com.
Retono Sprouts New Conjunto Sounds
Retune is the newest sprout in conjunto music.
Samuel Ramos Jr., vocals and bajo sexto; Salomon Ramos, accordion and vocals; and Pablo Ramos, bass sprouted from the music seed of Samuel G. Ramos, accordionist and vocalist with Los Tesoro’s. Then there’s their cousin Armando Villela on percussion and drums.
Born in Brownsville, reared in Edinburg and now living in San Benito, Texas, their primary influence was their famous father and their uncle Rolando Ramos, who played bajo sexto. On their mother’s side, their uncle is Juan P. Moreno of the Renegades.
“That’s all we heard when we were growing up,” Samuel Jr. said during an interview in McAllen, Texas.
“Dad recorded 15 to 16 vinyl albums and cassettes; and he’s still recording compact discs. As children, when dad saw we had the desire to learn, he bought each of us an instrument. Salomon actually started out on drums, but when dad sold the drum set, in desperation, he picked up the accordion.
“He bought me a saxophone when I joined the Miller Jordan Middle School, but I liked sports more. But once we got to the age to form a band, I learned how to play the bajo sexto.
In 2000, Samuel joined San Benito’s high school Conjunto Estrella as part of a class offered as a fine arts course. Two years later, Samuel, 17; and Salomon, 15 formed Retono and recorded their first CD, “Primizias” for JB Records. Their sophomore effort, “Prefiero La Soledad” garnered the brothers a Grammy nominated for “Best Norteno Album” in 2006 as they went up against Pesado, Los Huracanes, Conjunto Primavera and Los Tigres Del Norte. The latter group won.
Then came “Mundo de Colores” for Joslin Records in 2008. As they honed their talent and kept getting better and better, they came to the attention of Isaac Bazan, who signed them to Tex Mex Records in March 2010.
Reflecting back on their ascent, Samuel said, “I was listening to Billy Joel, The Carpenters, Earth, Wind and Fire. So we actually started out on the progressive side, but what I was writing had too much funk and using minors and sevens. Minors are notes that are not used that much and sevens is a form of throwing notes, but I put more harmony by hitting other strings. Since then, we have simplified our style. We have two lead vocalists and now our music is catchier.”
Samuel started writing the group’s material at 16 when he was inspired by a girl in Bakersfield, California and he hasn’t stop composing since.
“This is when we were working the cotton fields and on some evening, we barbequed, had a few iced ones and jammed. In fact, we were migrant workers until two years ago,” Samuel added.
“As for our latest CD, Rocky Beltran, from the Badd Boyz kind of brought us together when he told Isaac Bazan about us.”
The result is “Campanitas de Amor,” their best production to date. Among the gems in this CD is “Samuel’s Medley,” the potpourri consists of “Hasta Cuando,” “Paloma Sin Nido” and “Ella y Tu,” all composed by Samuel Sr. and if they sound very familiar, that’s because they were all recorded by David Lee Garza y Los Musicales.
Then there’s the haunting “Dame Mas,” in which Salomon makes his squeezebox sound like two accordions. “That song is based on the melody to Steven Bishop’s “On and On” being played in the bridge,” Samuel explained.
And Samuel Junior’s “No Me Engañes” is sure to become another hit due to harmonies that are reminiscence of Conjunto Bernal. For more information on Retono, go to www.facebook.com/pages/RETONO/137090879641383. To listen to their CD, go to www.myspace.com/gruporetono.
PHOTO:
L-R: Pablo Ramos, Salomon Ramos, Samuel Ramos Jr. and Armando Villela.
Bobby Esquivel Takes Liberty with his Band
Roberto Guerra Esquivel, the band leader of one of Tejano music’s most enduring bands, is unique in that he is unlike any other musician.
“There are no musicians or singers in either side of my parent’s families and I can’t say I was influenced or inspired to become a musician,” Esquivel said during an interview at the Hispanic Entertainment Archives.
“In fact, I don’t even know why I signed up to take band in middle school,” he continued with a puzzled look.
After racking his brain, he had to call his mother to find out what motivated him to take band in Truman Junior High School.
“It was because your friends were in band,” his mother said in a return call.
“That’s right, I had a friend named Juan; and once I got there, I liked the music so much, Roland Pérez and Bardo Cavazos, two horn players plus me and Felipe on drums formed an un-named combo. We started out as The Effics than changed our name to The Unknowns. This is during the time of Henry (Peña) and the Kasuals and the Entertainers,” the young looking 56-year-old band leader said of the 1968 experience.
Two years later, Esquivel on valve trombone; Óscar Padilla, tenor saxophone and Ray “Chafa” Hernández, trumpet; started jamming eventually adding a rhythm section and they would play bars where Viet Nam veterans used to go drink beer. However, they never gave themselves a name.
Esquivel’s turning point came in 1975 when he joined the Gabe González Band featuring Gabe on bass; Joe “Pepe” Sánchez on congas and later Jesse González on vocals; and as he says, “We played all the bars – Mendiola’s, El Ranchito, La Escondida, Alejandro’s and La Estrellita — along S. Zarzamora Street all the way to Palo Alto. In 1977, everybody got out and we regrouped as Liberty Band.”
Again, Esquivel said, “Don’t ask me why we named it Liberty Band, but it’s original members were Jesse, vocals; myself on valve trombone and doing second voice; Ray, trumpet; William Paniagua, trumpet; Concepción “Chon” Chávez, alto saxophone; Danny “Pollo” Peña, guitar; Rubén Hernández, bass; and Jimmy “Talache” Cavazos, drums.”
Liberty Band started out the new decade by recording their first album. By now Charlie McBurney had disbanded his own Mother Truck and joined Esquivel.
“Our first five albums contained original music by Charlie,” Esquivel said giving their most memorable trumpet play his due credit. “He’s the one that put us on the map because he gave us the style that we had. Now we ‘all’ do the arrangements as a team.”
After one album on Albert Esquivel’s Hispanic 80s label, the first album on his own Libertad label made Billboard’s charts with their “Oldies Medley” in 1982. What also helped is that they recorded all their productions at Manny Guerra’s Amen Studios. By now Cavazos had quit and had been replaced by Roddy Charo on drums and Gilbert “Gibby” Velásquez was featured on a guitar solo.
When they reached their tenth anniversary, with the exception of Louie Bustos on saxophone, the original band members had stuck together.
“The reason we remained intact is because of the chemistry among the guys. We worked well together and there was no greed, no envy and no ego trips,” the 5-feet-7-inch musician explained.
Asked where Liberty Band stood in regard to Mazz and La Mafia during the mid to late 1980s and Esquivel said, “We didn’t travel that much because we were too busy here and we didn’t have to go out. We did go to New Mexico, Arizona and California, but not as frequently. If I knew then, what I know now, I would have traveled.
“What kept us working is that the band sounded full and complete. Everyone told us that the horns are what added the flavor to the band. We also had Esmeralda Jaimé do a one-year stint from 1988 to ’89,” he added.
It was the bands eighteenth anniversary when Jesse Gonzٔalez got hurt in a car crash on the way home from a gig. Faced with a lengthy hospital stay, Esquivel has no choice but to replace him with Roy García and James Pardon in 1995.
“Jesse was, and is, a natural because he doesn’t have to practice. He just talks and the music comes out effortlessly, even now. So that dealt us a big blow.”
Roy moved to Miami in 1997, but returned in 2006. During that gap, Louie Marinez, Willie Martínez and Johnny “Aztlán” Hernández filled in the void.
“I have been the band’s second voice since day one, but three years ago, everyone started urging me to step up front. ‘You gotta sing more. You gotta sing more,’ everybody kept telling me. Up to that point I would tell myself, ‘I have a singer, so why sing?’ And now that I started singing lead vocals on some songs, I want to sing more.
“Bobby’s shy, but he lights up when he gets up on stage; and once you give him a microphone, he can’t stop,” Cyndi Carrillo said of her boyfriend.
“Whether it’s singing or playing my horn, I love music,” the hazel-eyed singer/musician reaffirmed.
“They’re seasoned musicians, but they never tire of performing and they’re up there having a good time,” Carrillo added.
Esquivel first recording as a lead singer was “Dejame” and the first time he performed it live, he singled his girlfriend out by dedicating the song to her. She in turn was so proud of her man that she stood in front of the stage singing along, cheering him on and making a big fuss. However the tune is about a man telling his love interest to go, to scram and to get lost because he does not love her.
“This confused a lot of our friends and they were even more puzzled when they saw how happy I was as Bobby sang these awful lyrics, but I was there when he recorded it and this was like giving birth to his first child.”
Today the tight-knit group continues to fill ballrooms and dance halls – last year as far as Chicago and Milwaukee.
If you’re craving old school oldies and Tejano rancheras, cumbias and other beats with a big brass sound from their more than twenty albums, check out this brass heavy band when they perform on Valentine’s Day or when they celebrate their 24th Anniversary in March 2011.
“Winter is the worst time of the year and we don’t have any bookings for December or January,” said Esquivel, who as most musicians relies on gigs in order to make ends meet. So for bookings, call him at (210) 260-4000.
Denzel Washington is a hero in the River City
Editor’s note: This story is based on a popular e-mail that has made the rounds of the Internet several times, gaining untruths in the telling. For the full story, see the article on Snopes.com. It has also been addressed by the San Antonio Express-News.
Subject: Denzel Washington, and Brooke Army Medical Center.
Don’t know whether you heard about this but Denzel Washington and his family visited the troops at Brooke Army Medical Center, in San Antonio, Texas, (BAMC) the other day. This is where soldiers who have been evacuated from Germany come to be hospitalized in the United States, especially burn victims. There are some buildings there called Fisher Houses. The Fisher House is a Hotel where soldiers’ families can stay, for little or no charge, while their soldier is staying in the Hospital. BAMC has quite a few of these houses on base, but as you can imagine, they are almost filled most of the time.
While Denzel Washington was visiting BAMC, they gave him a tour of one of the Fisher Houses. He asked how much one of them would cost to build. He took his check book out and wrote a check for the full amount right there on the spot.
The soldiers overseas were amazed to hear this story and want to get the word out to the American public, because it warmed their hearts to hear it. The question is why do:
Britney Spears, Lindsay Lohan, Paris Hilton, Tom Cruise and other Hollywood fluff make front page news with their ridiculous antics and Denzel Washington’s Patriotism doesn’t even make page 3 in the Metro section of any newspaper except the Local newspaper in San Antonio.
Al Reed’s Visit to SA Was a Flashback to the Past
Al Reed is among the last of the Mohicans when it comes to true Chicano rock’n’roll music legends.
This means the January 1958 Fox Tech High School graduate – born Albert Gonzales — preceded the Royal Jesters plus Little Joe and Sunny Ozuna, who with Isidro López are considered to be the “Founding Fathers of Tejano Music,” in recording his first single.
“My Padrino (Godfather) sparked my interest in music when he gave me a guitar and my first performance was when I sang Hank Williams’ ‘Jambalaya’ during a talent show at Ira Ogden Elementary School,” the 72-year-old vocalist said during an interview at Mi Tierra Café.
“I remember I would stand in front of the mirror with my guitar and pretend to be singing in front of an audience,” he continued.
There was still much discrimination against Americans of Mexican descent during the 1950s so the Anglo looking hazel-eyed vocalist, who admired blues musician Jimmy Reed took his last name and shorted his first name to become Al Reed.
In 1955, Mando and the Chili Peppers had their own radio show on KCOR and they invited Reed to perform live, but his band had broke up so he asked Rudy Treviño Gonzales, who headed the Reno Bops to back him up on a couple of rockabilly songs.
After he put a second band together again, he was invited to appear on the “Scratch Phillips” Monday night television show on KCOR-TV.
“I was sick with the flu,” Reed recalls. “And when he asked me for the name of my group, I said, ‘The Blue Notes because this morning I woke up with the blues.”
Reed, Joe “Moco” Sánchez, guitar; Felix Velásquez, bass; “Big” Ralph Sánchez, saxophone; and Raúl García on drums; made up the Blue Notes.
They, Rudy and the Reno Bops, the Lyrics, Sonny Ace and the Rhythm Rockers, later the Del-Sharps, would perform at high school teen canteens, the San Fernando Gym, the Fox Tech Gym, Patio Analuz, the Tiffany Lounge, the Tourist Club, Mr. Brown’s Cadillac Club on Navarro Street and the Fort Sam Houston NCO Club. Also the Northside Lounge, which was across from El Chamizal and La Cita Nightclub across from the Alameda Theater.
As Reed, Ace, who looked up to rhythm and blues singer Johhny Ace, went from Solís to Ace and changed his first name from Domingo to Sonny.
Those were also the days of Mike (Villa) and the Bel-Airs, Little Sammy Jay (Jaramillo) and the Tiffaniers plus Rickie (Arguello) and the Keys. The onda chicana came later. There was no chicano music in 1956. It was either rock’n’roll or rhythm and blues.
A showman at heart, during this period, Reed would wear red, green, yellow, baby-blue colored suits and blue suede shoes, long sideburns and a pompadour.
“I wanted to be a big star so I went to see Bob Tanner, owner of TNT Records and convinced him to record me. However, it was for one side of a single. I wrote ‘I Love Her So’ and Sonny Ace wrote and recorded ‘Darling of Mine.’
The 5-feet-8-inch tall songwriter’s inspiration for this 1957 tune was his then-girlfriend, Annie “Maybellene” Garza.
That single became a double-sided regional hit and it was picked up by Dot Records whose roster included Pat Boone, Eddie Fisher, Liberace, the Mills Brothers and years later, Barbara Mandrell and Freddy Fender. This turned Reed and Ace’s single into a national hit.
This is the same year when Rudy Tee recorded “Cry, Cry” as a 78 rpm single for Rio Records.
At the height of his success, Reed decided to move to California and he asked Annie to make the move with him. However, her father wouldn’t hear of it.
“He relented when my mother told him, ‘Let them or they’re going to elope.’ I was 15 and he was 19 when we got married and left that same night,” said his wife of 42 years.
Marriage plus the birth of JoAnn and Sandra brought his musical career to an end. However, that didn’t stop him from getting up on stage and sing with different bands and stay in touch with his 1950s colleagues throughout the years.
When the Dell Kings – Randy Garibay, Cleto Escobedo, Frank Rodarte and Richard Garza — moved to California, they stayed at Reed’s home in Santa Ana.
Last week, Rudy Tee and promoter Juan Mendoza presented Reed with a plaque in recognition for his musical contributions. Reed’s wife, Annie, his daughter JoAnn, his grand-daughter Kristal and Rudy’s wife Linda were in attendance during this plaque presentation from Henry Parrilla and the Citizens of San Antonio.
For those readers who are lost in the ‘50s, there are plans to have an Edgewood Canteen Reunion of stars featuring Sunny and the Sunliners, Joe Bravo, Bobby Mack of the Sunglows and Rudy Tee. More on that as information becomes available.
It was Rapping at Noche Caliente
By Jonathan Liles
Surprise!!! Its Devin The Dude!
River City Attractions (RCA), received an invite to Noche Caliente at the last minute on October 29, 2010. We were expecting to see a concert with San Antonio Hip Hop artist King Kyle Lee as the main event. However Kyle Lee along with Swishahouse Legend DJ Michael “5000” Watts were actually there to host and promote for Devin The Dude. Devin the Dude is an underground rap artist well known for his unique rapping style and 15 year relationship with Houston based Rap-A-Lot Records (ended in 2008). The experience of the show itself was indeed unique. When Devin The Dude performed all the fans surrounded him in a big circle as he performed music from his latest album Suite 420. River City Attractions would like to give special thanks to Kyle Lee, Michael “5000” Watts, Devin The Dude, Core, Big Q and Noche Caliente for putting on a great show.
More About Devin The Dude:
http://www.myspace.com/devinthedude
http://www.facebook.com/pages/Devin-The-Dude/31421216269
http://twitter.com/devindude420
http://www.youtube.com/watch?v=INqWgpoPCFg
http://itunes.apple.com/us/artist/devin-the-dude/id148814567