The Westside Sound of San Antonio

from the December 2020 issue of Texas Highways magazine

Also known as Chicano soul, the Westside Sound blends rock ‘n’ roll with San Antonio roots

Albums by Mando and the Chili Peppers, Sonny Ace, Rudy and the Reno-Bops, and Doug Sahm exemplify the Westside Sound of San Antonio.

Fans of vinyl and the Westside Sound can get their fix at Janie’s Record Shop in San Antonio.

 

 

Texas music is known for its sense of place, whether it’s Western swing, guitar-powered electric blues, or Dirty South hip-hop. But at least one Texas city, and one specific part of that city, can claim a sound all its own: the Westside Sound of San Antonio.

The Westside Sound refers to a specific place and time, beginning in the 1950s, when Mexican American teenagers in San Antonio first heard rock ’n’ roll. Budding musicians from across the city formed bands playing music that incorporated rhythm and blues, often with a heavy horn section, and influences of swing, conjunto, and country. Sometimes referred to as “Chicano Soul,” the music drew on the early rock ’n’ rollers from New Orleans like Fats Domino and emphasized slow-dance standards known as “bellyrubbers.”

But unlike scenes in other places, the Westside Sound never completely went away. Its popularity persists thanks to veteran San Antonio musicians and fans championing their city’s native sound. You can hear the influence of the Westside Sound in songs like “Hey Baby Kep Pa So,” by enduring San Antonio keyboardist Augie Meyers, and in the music of younger musicians such as Los Texmaniacs, Garrett T. Capps, Mitch Webb and the Swindles, Adrian Quesada, and Jonny Benavidez.

One of the local fans keeping the Westside Sound alive is Chris Varelas, a retired firefighter who operates the NoHitNetwork.com website and KCJV 97.9—a low-power FM radio station based in Leon Valley in northwest San Antonio. Featuring non-charting regional releases from the 1950s through the ’70s—or “The Greatest Sounds You’ve Never Heard Of”—the station plays a whole lot of Westside Sound records.

“The Westside Sound is to San Antonio what Motown is to Detroit,” Varelas says. “The sound is unique and immediately identifiable. It’s really hard to convey the impact of a few local high school teenagers who decided to sing and dream.”

In the 1950s, San Antonio was far enough out of the mainstream, geographically and culturally, to foster a scene from local radio stations playing records by local bands. Only a few of those recordings—notably “Talk to Me” by Sunny and the Sunliners and “She’s About a Mover” by the Sir Douglas Quintet—made it onto the national charts. Still, radio airplay and jukebox spins made regional stars out of groups such as Rudy and the Reno Bops, the Royal Jesters, the Dell Kings, Sonny Ace y Los Twisters, the Dreamliners, the Commands, the Mar-Kays, and Charlie and the Jives.

Arturo “Sauce” Gonzalez was an early member of Sunny and the Sunliners in 1962. He later played Hammond B-3 organ with the late Doug Sahm, and today he leads Sauce Gonzalez and the Westside Sound.

“My band is called the Westside Sound and even I have a hard time explaining it,” he jokes. But, he says, a hallmark of the sound is simplicity.

“We used to play R&B tunes by Fats Domino, Little Richard, Smiley Lewis, B.B. King, Little Willie John, and lots of other Black artists,” he says. “We Chicanos from the Westside would rearrange the music for two tenor saxophones and piano. And it was very important to play the triplets. Playing them by ear rather than reading charts was the Westside Sound, too.”

The “Westside Sound” didn’t really exist as a moniker until 1983, long after the music’s heyday. That’s when Sahm,
a San Antonio-born musical prodigy who made his mark on the sound with the Sir Douglas Quintet, released an album with Meyers titled The ‘West Side’ Sound Rolls Again.

“That’s the first mention,” Jason Longoria says, pointing to the cover of the album in the music room of his San Antonio home. “No one knew what to call it until then.”

Longoria, 42, is another local keeping the Westside Sound alive through collecting records and sharing his research with the world. “The musicians came from all over San Antonio,” he adds. “But the Westside is the heart.”

A mural showing several famous Westside artists in San Antonio

The mural La Música de San Anto on West Commerce Street

San Antonio’s Westside, the oldest urban Mexican American neighborhood in Texas, is the historic hub of the city’s Hispanic culture. After World War II, two record labels, Rio Records and Corona Records, showcased the music of the working-class neighborhood.

Corona recorded traditional Spanish music ensembles. Rio Records issued records by young Mexican Americans playing all kinds of sounds. “Rio Records was to San Antonio what Sun Records was to Memphis,” Longoria says. “All these people had an opportunity to make a record. Rio Records owner Hymie Wolf would record anyone who came in, press up copies, and service jukebox distributors and radio stations with copies. He didn’t dictate what people should sing
or play.”

Longoria collects recordings and ephemera documenting the era. He has also sought out old performers and even gotten a few of them back on stage, including Rudy Tee Gonzalez, the lead singer from Rudy and the Reno-Bops; and Little Sammy Jay (Jaramillo), featured vocalist from the storied Tiffany Lounge club.

Longoria, who works at H-E-B’s corporate headquarters for his day job, developed his obsession through his parents’ love of the Texas Tornados, the 1990s Tex-Mex supergroup consisting of Sahm, Meyers, Freddy Fender, and Flaco Jiménez—all pioneers of the sound.

“When that first album came out, my parents would tell me about Doug Sahm and all the guys coming from around here,” Longoria says. “Doug Sahm stuck with me because he was local, very eclectic, and played a mixed bag of stuff that I related to.”

Longoria’s research traces the origins of the Westside Sound to the merging of two bands, Conjunto San Antonio Alegre and Conjunto Mexico, which joined forces as Mando and the Chili Peppers in 1955. As the players traded their bajo sextos and accordions for electric guitars, their music transitioned from polkas and rancheras to rock ’n’ roll and Louisiana blues. They were also hearing music from local Black blues musicians, a scene with 1940s roots in the Keyhole Club, which advertised itself as “the First Integrated Night Club in the South.”

Mando and the Chili Peppers toured around the country, playing cities like Las Vegas, Denver, New York, and Philadelphia, where they appeared on the popular American Bandstand TV show. Back in San Antonio, the band had its own television show on KCOR, first with Spanish-speaking emcees and then with Scratch Phillips, a Black disc jockey.

On the Road With Rock ’N Roll, the band’s 1957 debut album, improbably fused country, conjunto, R&B, and triplet-powered rock ’n’ roll. The playlist incorporated songs from Ernest Tubb’s “I’m Walkin’ the Floor Over You,” to the popular standard “South of the Border,” to “San Antonio Rose” by Bob Wills and His Texas Playboys.

“San Antonio has got its own version of pretty much all of American music,” Longoria says.

And, it’s got music that no other place can claim.

Finding the Westside Sound

On the radio, DJ Chris Varelas plays Westside Sound bands on his station 97.9 FM in San Antonio and online at nohitnetwork.com. Legendary San Antonio DJ Henry “Pepsi” Peña hosts the San Antonio Oldies show Sundays
6-9 p.m. on Radio Jalapeño, KEDA 1540 AM, 102.3 FM, and saoldies.com.

In the clubs, see live performances by Westside Sound bands including Sauce Gonzalez and the Westside Sound, the Westside Horns, Joe Jama, Frank Rodarte, Al Gomez, Little Henry, Chente Montes, Jack Barber, and Urban Urbano at venues including The Squeezebox, Sanchos, and The Lighthouse Lounge. facebook.com/thesqueezebox; sanchosmx.com; facebook.com/the-lighthouse-lounge-100242124663964

On TV, hear strains of the Westside Sound on Jimmy Kimmel Live! Cleto Escobedo III leads the house band, which includes his father, Cleto Escobedo Jr., a saxophonist and founding member of San Antonio’s Dell-Kings.

In the shops, find Westside Sound recordings at Janie’s Record Shop, 1012 Bandera Road, and Del Bravo Record Shop, 554 Enrique M. Barrera Parkway. facebook.com/janiesrecordshop4; delbravorecordshop.com

On display, in David Blanca’s mural, entitled La Música de la San Anto, 1303 W. Commerce St., and in exhibits at the South Texas Museum of Popular Culture. texpopsa.org

From the December 2020 issue
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Accordion: Texas’ Main Squeeze

https://www.texascooppower.com/texas-stories/life-arts/texas-main-squeeze

My story about the accordion in Texas Coop Power

Texas’ Main Squeeze
The accordion has been a beloved musical instrument since it got here

 

  • Chris Rybak continues a tradition brought to Texas by European settlers in the 1800s.
    IMAGE: Courtesy Chris Rybak
  • Rybak as an 11-year-old.
    IMAGE: Courtesy Chris Rybak
  • Accordionist and bandleader Emil Schuhmann of Fayette County in the 1890s.
    IMAGE: Winedale Photograph Collection | The Dolph Briscoe Center for American History, The University of Texas at Austin

Of all the musical instruments brought to Texas by German, Czech, Polish and Moravian immigrants in the 19th and early 20th centuries, the accordion made the most unexpected inroads among Mexican, Cajun and Creole communities who embraced it as their instrument of choice. Generations later, squeezeboxes still move Texans.

Chris Rybak, known as the Accordion Cowboy, who hails from Hallettsville, explains that when he picked up the instrument 30 years ago, at age 11, accordion-playing bandleader Lawrence Welk was a big thing. “But that also made accordion not so cool,” he says, adding that now it’s heard in jazz, rock and a wide variety of other musical genres. “It doesn’t have to be just your grandpa’s oompah anymore.”

Packing the full-bodied sound of an entire band into one instrument, the accordion, invented in Europe in the 1820s, provided entertainment at dances of all kinds as Texas was settled. Without the need for electricity or amplification, its sound carried farther than stringed instruments.

The accordion was a key instrument for western swing bands in the 1930s and ’40s. It remains the most versatile musical instrument going in Texas, straddling regions and borders and injecting its sound into rock, country, blues, jazz and zydeco. It’s the defining instrument of conjunto, the folk music of South Texas, and the faster-paced norteño, a folk music of northern Mexico that is similar to conjunto.

Without the accordion, there would be no Mark Halata at Wurstfest, no Brave Combo playing WestFest, no Ennis Czech Boys working the National Polka Festival, no Fritz Hodde and the Fabulous Six performing at an SPJST hall.

The European-style accordion, the traditional large instrument with piano keys on the right-hand side that functions like a glorified organ, is favored by the Bohemians, Czechs, Poles and Germans of South and Central Texas; some Zydeco bands around Houston and southeast Texas; and Fort Worth’s Ginny Mac and Austin’s Debra Peters. It can weigh upward of 30 pounds.

Conjuntos and some zydeco bands favor the smaller, diatonic model of accordion with buttons on both sides that change notes as you push and pull and has considerably faster action. Texas Cajuns play an even smaller, simpler diatonic model with fewer buttons.

Rybak explains that Czech, German, German-Polish, Tejano and Cajun music each embody a distinct style. “On the other hand, when you go to a conjunto place,” he says, “the band will throw in a few Czech songs. And vice versa. The accordion is distinctive, and it can cross boundaries and cultures.”

The universality of the accordion is celebrated at the Accordion Kings and Queens at the Miller Outdoor Theatre in Houston on the first Saturday in June, a production of Texas Folklife. All the bands onstage feature accordions as the lead instrument, but the performers sing in English, Spanish, French, German, Polish and Czech, reflecting each group’s ethnic background. Despite those differences, everyone dances the same on the dance floor, moving in a counterclockwise direction.

These days, Rybak says he mostly uses a digital accordion, which has changed his instrument much the way a digital keyboard changed piano playing. He can create blaring trumpets to open the Johnny Cash standard Ring of Fire.

“I would say for most shows, I play 70 or 80% with a digital accordion,” he says. “And that’s what the new generation really loves, too. They can do anything on it.”

Although Joe Nick Patoski gave up piano accordion for violin at age 7, he owns a button accordion autographed by Flaco Jiménez.

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Conjunto: The Soul Music of South Texas

https://www.texascooppower.com/texas-stories/life-arts/soul-music-of-south-texas

My story on Conjunto music in Texas Coop Power magazine

Soul Music of South Texas
Conjunto, built upon a polka rhythm, turns accordions and 12-string guitars into a unique sound and subculture

By Joe Nick Patoski
March 2020

 

El Flaco

Esteban “Steve” Jordan began playing accordion at the age of 7.
IMAGE: John Dyer

Flaco Jiménez brought the conjunto accordion to Amsterdam in 1989 and Dwayne Verheyden answered the call and learned to play like Flaco

Eduardo Garza of Mission was one of the big winners at the 2019 Big Squeeze youth accordion competition.
IMAGE: Courtesy Texas Folklife

Joel Guzmán at the Alamo.

IMAGE: John Dyer

Teenage conjunto performer Darren David Prieto with Santiago Jimenez and Luis Almanza, Carnitas Uruapan, San Antonio,  2015.

Santiago Jiménez Jr., who gave accordion lessons to Prieto.
IMAGE: John Dyer

Los Texmaniacs have taken conjunto as far as China.

With her 12-string guitar, Lydia Mendoza became the first female star of Mexican American music.

San Antonio’s Eva Ybarra is known as the Queen of the Accordion.

Narciso Martínez was one of the recording pioneers of conjunto.

 

Darren David Prieto played the accordion in Carnitas Uruapan, a meat market on the west side of San Antonio, one Sunday morning in 2016 while customers lined up for tamales and carnitas. Back then, the market hosted a weekly residency with accordionist Santiago Jiménez Jr., younger brother of accordion legend Flaco Jiménez. The gig was practice for Jiménez, but for Prieto, it was an apprenticeship and a steppingstone to a career performing the soul music of South Texas.

Jiménez introduced the shy teenager from New Braunfels, then 16, as “mi protegido”—his protégé—and, blushing, Prieto nodded toward Jiménez and added, “Mi profesor.” This unlikely venue and early start time was a very big deal for the slight, quiet young man because as part of a new generation of conjunto accordionists, it was his opportunity to learn from a master.

As Jiménez played his diatonic button accordion, accompanied by a sideman strumming chords on a 12-string guitar called a bajo sexto, pounding out a rhythm to propel the sounds from Jiménez’s accordion, the meat market’s owner occasionally walked out from behind the counter to harmonize with Jiménez in vocal duets. “Margarita, Margarita,” they crooned, faces inches from each other. Sit-ins from the neighborhood were part of the weekly routine. Grammy Award winner Max Baca of Los Texmaniacs walked into Carnitas wearing a football jersey and shorts rather than his western stage outfit and sat in with the band, playing bajo sexto.

Conjunto’s bouncy rhythm, typically a polka, is why it is also known as música alegre, happy music. Like blues and country, conjunto—pronounced cohn-hoon-toe—is indigenous, only regionally specific to South Texas, with mostly Spanish lyrics. In South Texas, and anywhere conjunto’s influence extends, the term is applied to both sound and subculture.

Conjunto has two key instruments: the diatonic button accordion, which, like a harmonica, changes notes as air is pushed or pulled past vibrating reeds, and the bajo sexto, which provides the rhythm and backbeat. Most modern conjuntos also include drums, guitar and bass.

At a time when most American roots music’s popularity is on the downswing, conjunto’s roots are spreading. Public school programs in La Joya, Los Fresnos, Brownsville and other towns across the Rio Grande Valley have added conjunto to their curricula, and bajo sexto classes are taught weekly at the Conjunto Heritage Taller and the Guadalupe Cultural Arts Center in San Antonio. “We get them from 8 to 80,” said Rodolfo Lopez, Conjunto Heritage Taller director. “Conjunto is us, la gente. This is a unique music form.” Kids from the taller (workshop) have dominated the state-wide Big Squeeze youth accordion competition sponsored by Texas Folklife since its inception in 2007.

Conjunto was born in the late 19th century when German immigrants introduced the button accordion to South Texas. In part because of its rural roots, it was known as cantina music. Conjunto made its commercial debut in the 1920s and ’30s, when Columbia and Bluebird joined other labels in the fledgling recording business, setting up studios in rooms at San Antonio’s Gunter and Bluebonnet hotels as well as at local WOAI radio to record musicians solicited by talent scouts. Conjunto accordionists were recruited to San Antonio alongside bluesman Robert Johnson, western swingsters Bill Boyd & His Cowboy Ramblers and the Tex-Czech sounds of Adolph Hofner as well as Texan Mexican singer Lydia Mendoza.

The instrumentals by those conjunto accordionists sounded Mexican with additional Bohemian, Czech and German elements, reflecting the influence of the immigrant communities of South Texas.

Texas conjunto recording pioneers Bruno Villarreal from Santa Rosa, Narciso Martínez of La Paloma and Santiago Jiménez of San Antonio all eavesdropped on Czech, German and Polish dances in South Texas and incorporated what they heard into their own music.

Conjunto follows neither mariachi nor ranchera traditions, nor is it norteño, the accordion style popular in northern Mexico. “It’s a melding of European music and the Mexican bajo sexto,” Rodolfo Lopez explained, noting that Czech redowas, Bohemian schottisches, waltzes and polkas all came from Europe. “We just added our jalapeño chiltepin flavor to it.”

Flaco Jiménez, the older of conjunto pioneer Santiago Jiménez’s two sons, expanded awareness of the genre in 1973, appearing on the album Doug Sahm and Band, featuring the rock musician from San Antonio and an all-star lineup that included Bob Dylan. Sahm sought out and played bajo sexto with Flaco Jiménez in his backyard on San Antonio’s west side. “He could groove,” Jiménez said.

Flaco Jiménez would ultimately take conjunto accordion around the world, recording with Ry Cooder, Peter Rowan, the Rolling Stones, Dwight Yoakum and Emmylou Harris before joining the Tex-Mex supergroup Texas Tornados.

Esteban “Steve” Jordan of Elsa, a dashing figure with an eyepatch known as the Jimi Hendrix of the accordion, also worked as a conjunto innovator. One record label described Jordan’s style as acordeón psicodélico. If Jiménez was the standard-bearer, Jordan was the experimentalist—always pushing the envelope until his passing in 2010.

Another notable exporter of conjunto accordion is Joel Guzmán of Buda, who performs with his wife, Sarah Fox, as Aztex; plays and records with country rocker Joe Ely; and joined Paul Simon on his Homeward Bound tour. One of few professional female accordionists, Eva Ybarra earned a National Heritage Fellowship from the National Endowment for the Arts in 2017.

Conjunto is no longer exclusively a Texas thing. Japan has several conjuntos who were inspired by Flaco Jiménez’s appearance in their country with the Texas Tornados. Dwayne Verheyden from the Netherlands mastered Jiménez’s playing style, then mastered Spanish to better communicate with Jiménez and conjunto audiences. After his performance at the Tejano Conjunto Fest in San Antonio in 2014, fans patiently lined up to have their picture taken with him, as if he was the Justin Bieber of conjunto.

Conjunto’s crossover appeal comes to life in the music of Conjunto Los Pinkys, an Austin band led by octogenarian Isidro Samilpa; a middle-aged Polish import from Saginaw, Michigan, named Bradley Jaye Williams; and Mark Weber, an accordionist from San Antonio. Another crossover success is Stevie Ray Vavages of the Tohono O’odham Nation in Arizona, who learned the bajo sexto playing the native sound called chicken scratch.

Darren Prieto is part of the next wave.

Typical of most Texas kids, he grew up listening to rock, country, jazz and hip-hop. Not typical of most Texas kids, he chose to play accordion when he was 14. “I was always with my grandfather,” he explained. “Around our house, conjunto music was always on. I listened to all types of conjunto, from Los Pavo Reales to Ruben Naranjo.” The summer before he entered high school, Prieto picked up his grandfather’s accordion, just as his own father once had. By that September, he’d learned some polkas. “I started falling in love,” Prieto said.

Web Extra: Where To See and Hear Conjunto

KEDA-AM (1540) in San Antonio, which streams online.

Rancho Alegre Radio’s sampler playlist.

Texas Folklife presents Big Squeeze competitions in the spring. The Museum of South Texas History in Edinburg hosts the semifinals, and the finals are staged at the Bullock Texas State History Museum in Austin. Big Squeeze champions all perform at the Texas Accordion Kings and Queens concert and dance at the Miller Outdoor Theatre in Houston the first Saturday in June.

The Tejano Conjunto Festival in San Antonio, sponsored by the Guadalupe Cultural Arts Center, is conjunto’s biggest bash of all, staged at Guadalupe Theater and in Rosedale Park May 13–17.

Rancho Alegre Conjunto Music Festival in May in Austin, plus weekly tardeadas in the spring and fall.

Narciso Martínez Cultural Arts Center Conjunto Festival in Los Fresnos in October.

Two documentaries tell the story of conjunto: 1976’s Chulas Fronteras, by filmmakers Les Blank and Maureen Gosling, and Songs of the Homeland, filmed in 1995 by Hector Galán.

Conjunto Musicians, Their Lives and Their Times is an audio program in the Onda Latina Collection at the University of Texas featuring Esteban Jordan, Flaco Jiménez, Santiago Jiménez Jr. and Tony de la Rosa.

The Texas Conjunto Music Hall of Fame and Museum in San Benito is one of the cradles of conjunto. It’s open Thursday–Saturday at 210 E. Heywood St. Call (956) 245-1666 for more info.

Janie’s Record Shop is the go-to shop for conjunto 45s, CDs and 12-inch vinyl, with a store jukebox and loads of autographed photos of conjunto stars. It’s at 1012 Bandera Rd. in San Antonio. Call (210) 735-2070 for more info.

Del Bravo Record Shop, run by the family of conjunto composer Salomé Gutierrez, is as much a museum as a record shop. Don’t miss the Lydia Mendoza tribute display, which includes one of her stage dresses. It’s at 554 Old Highway 90 in San Antonio. Call (210) 432-8351 for more info.

Those Sunday morning performances on the small stage at Carnitas Uruapan, where he learned from Santiago Jiménez Jr., stoked Prieto’s creative fire. “He helped me learn to get over stage fright, how to talk to the crowd and even how to be a humble musician,” Prieto said.

The gigs at Carnitas Uruapan stopped in 2018 when the owner retired. But Prieto remains tight with Jiménez. “You can hear a little bit of Santiago Jiménez Jr.’s style in my own playing,” Prieto said. “Playing conjunto music is so fun. It isn’t like any other music. It has that beat that makes you want to dance. It makes you feel alive.”

Web Extra: Joe Nick Patoski’s Conjunto Experience

Writer Joe Nick Patoski, a self-confessed conjunto addict, offers this playlist of some of his favorite conjunto songs and artists. He has been writing about conjunto music since 1975 for Texas Monthly, Oxford American, Rolling Stone, Country Music and other publications. He hosts the Texas Music Hour of Power, 7–9 p.m. Saturdays on Marfa Public Radio and Wimberley Valley Radio.

Writer Joe Nick Patoski, a confessed conjunto addict, lives outside Wimberley and is a member of Pedernales EC.

This appeared in the March 2020 issue

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Texas Music Hour of Power Sat nites 7-9 pm central KRTS Marfa KWVH Wimberley and anytime here

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www.westtexasradio.org

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Every Saturday nite, yours truly hosts the Texas Music Hour of Power, showcasing all kinds of Texas sounds created over the past century of recorded music. The show runs two hours because Texas spans two time zones and frankly, the music is too dang big to limit it to one hour.

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