Texas Music Source
Our guide to eighty years of Texas Music
(Page 3 of 6)
THE SWING ERA: 1930-1945
At the start of the thirties
Texas singers were still at the height of the blues craze, with Houston’s Victoria Spivey being a prime example, and Texas was developing its own barrelhouse piano style, with Alex Moore and others paralleling the developments in Kansas City and New York. But during the thirties enormous changes were taking place in the national music scene. Jazz greats like Louis Armstrong and Benny Goodman were leading a transformation in popular music, and many Texas musicians were drawn to contribute their talents. Among the hundreds who made lasting contributions were Charlie Christian, who established the guitar as a valid solo instrument for jazz improvisation, and Jack Teagarden, perhaps the most innovative trombonist of his generation. Swing became the most popular form of music, and jazz pianist Teddy Wilson, born in Austin, was one of the greats in that genre as well.
At the same time Texans were at the forefront of Country music, furnishing singing cowboys Gene Autry and Tex Ritter to the movies and pointing the way to further developments, Al Dexterwas introducing the world to the honky-tonk blues. In the early thirties bandleader Milton Brown was refining the sound of Western swing, a memorable blend of country and jazz that still has proponents today. In 1939 the quirky talents of Red River Dave McEneryintroduced Country music to television at the 1939 World’s Fair. But beyond these national trends, traditional ethnic music thrived in Texas as well, with accordionist Santiago Jimenez, Sr., helping to solidify the conjunto style that has become such a popular factor in todays international music scene.
Victoria Spivey (1906-1976)
Birthplace: Houston
Genre: Blues
Influenced: Bob Dylan, Alberta Hunter, the blues revival of the 1960s
The grandly named Victoria Regina Spivey was a true queen of the blues in the early heyday of blues recordings, and she survived to become a legendary record producer in the 1960s. Both a composer and a singer, Spivey’s earthy, biting style attracted many young admirers of the classic blues in the early sixties, including the young Bob Dylan, who accompanied her in some late recordings. As the founder of her own recording company, she brought out of retirement another great blues singer, Roberta Hunter.
Victoria Spivey grew up in Houston in a family that produced several noted musicians, all trained in her father’s string band. Hardly twelve years old, she began playing piano with local bands in Houston before moving on to Dallas. From 1918 into the early twenties Spivey performed with several Dallas bands and singers, including Lazy Daddy’s Fillmore Blues Band and Blind Lemon Jefferson. By 1926 she had traveled to St. Louis, where she recorded her first composition on the Okeh label, the legendary “Black Snake Blues.” By this time, her sisters Addie (Sweet Peas) and Elton Island (the Za Zu Girl) were performing with her in a revue that played in vaudeville theaters from Texas to Michigan.
An appearance in the 1929 King Vidor black musical film Hallelujah increased her national popularity, and she eventually recorded and performed with Louis Armstong, Memphis Minnie, Bessie Smith, and many other great blues artists of the era. Spivey recorded many songs, mostly her own compositions, until 1937, when changing tastes were bringing to a close the great era of classic blues recordings. Although she continued to perform in vaudeville-style shows throughout the forties, by 1952 she had largely retired.
In 1960 she made a comeback, writing new material that dealt with such contemporary issues as “drugs, violence, and deviant sex,” according to one commentator. In 1962 she founded the Spivey label and began recording several of the classic blues singers, including the wonderful Alberta Hunter. Although she accompanied herself on the piano, she also experimented with a ukulele, and Bob Dylan is featured as an accompanist on her first release on the Spivey label. She also contributed to the history of jazz by writing articles to various blues and jazz publications. Spivey performed frequently in New York City in the seventies until shortly before her death in 1976. by Chester Rosson (May 1997)
Whistlin’ Alex Moore (1899-1989)
Birthplace: Dallas
Genre: Barrelhouse piano
Influenced: Many Texas barrelhouse and blues pianists
Although in 1929 Alex Moore was one of the first of the Texas barrelhouse piano artists to record and continue to play throughout the thirties, forties, and fifties, his stature as a classic barrelhouse performer went largely unacknowledged until the 1960s, when Chris Strachwitz began recording his work for the Arhoolie label. This led to a series of national and international engagements that firmly established Moore’s lasting contribution to Texas music.
Growing up in Freedmen’s Town in Dallas during the early part of the century, Alex Moore heard the ragtime and developing barrelhouse piano style played in the area’s many dives and whorehouses that nurtured so many other early black blues artists. After his father died, Alex dropped out of school during sixth grade to help support the family by doing various odd jobs. While working as a delivery boy he became interested in learning the piano, and picked up what instruction he could at stops along the way. During the 1920s he developed his own idiosyncratic style, borrowing from the blues, ragtime, boogie, and stride techniques made famous through recordings. He picked up the name “Whistlin’ Alex” for the self-encouraging sounds he made while playing.
In 1929 Moore traveled to a recording studio to do six songs for Columbia, and in subsequent decades continued to make a few recordings, which document his development. But Moore never was able to quit his day job, and continued to work until his retirement in 1965. In 1969 he traveled to Europe for a blues festival and made an album recorded in Stuttgart at a live concert, the popular Alex Moore in Europe. Many other festival appearances followed over the years, but Moore always returned home to Dallas, where he entertained at a local blues club. In 1987 he was the first African American artist to receive a National Heritage Fellowship from the National Endowment for the Arts. In 1988 he released his last recording, an engaging piece titled “Wiggle Tail.” He died of a heart attack early in 1989. by Chester Rosson (May 1997)
Charlie Christian (1916-1942)
Birthplace: Bonham
Genre: Jazz
Influenced: Established the electric guitar as a major jazz solo instrument, and influenced the development of bebop
As a young musician Charlie Christian burst upon the national big band circuit by crashing a Benny Goodman concert and playing in his own distinctive style a dazzling set of variations on the Goodman standard “Rose Room.” Goodman, immediately recognizing Christian’s extraordinary talent, hired him on the spot and added him to the elite Goodman Sextet. That national exposure led to instant recognition, with Christian winning Downbeat polls from 1939 through 1941. During his off-hours he also contributed to the emerging bebop style later championed by Charlie Parker and Dizzy Gillespie.
Born in Bonham to a blind musician father who worked as a singer-guitarist, Christian grew up on the road in and around Oklahoma City. The story goes that he was too poor to buy a guitar of his own, so he built a makeshift instrument out of discarded cigar boxes. In the early thirties Christian had become accomplished enough to have acquired a manufactured guitar, for he was accepted into regional or territory bands, as they are called, led by such respected musicians as Anna Mae Winburn and Alphoso Trent.
By 1937 Christian was experimenting with amplifying his guitar to be heard above the noise of the audience and the other instruments. He was playing at the Ritz Cafe in Oklahoma City where jazz fan and critic John Hammond heard him in 1939. Hammond recommended him to Benny Goodman, but the band leader wasn’t interested. The idea of an electrified guitar didn’t appeal, and Goodman didn’t care for Christian’s flashy style of dressing. Reportedly, Hammond personally installed Christian onstage during a break in a Goodman concert in Beverly Hills. Irritated to see Christian among the band, Goodman struck up “Rose Room,” not expecting the guitarist to know the tune. What followed amazed everyone who heard the 45-minute performance.
Recordings followed, establishing Christian as a great jazz innovator as well as a first-rate guitarist. Late night sessions, for which he was constantly in demand, took a toll on his rather delicate health. Some of these sessions, recorded by a fan, have survived to show the beginnings of the bebop style in his playing.
By 1941 Christian was suffering from tuberculosis, but took no rest. At a Staten Island sanitorium musician friends continued to play, practically up to his death on March 2, 1942. by Chester Rosson (May 1997)
Jack Teagarden (1905-1964)
Birthplace: Vernon
Genre: Jazz
Influenced: jazz big bands from Paul Whiteman to Glenn Miller
Additional Link: A Tribute to Jack Teagarden
Extravagantly praised by some critics as the greatest jazz trombonist to date, Jack Teagarden was a legend from the time he emerged as a recording artist in the twenties until his untimely death in 1964. Famous for a relaxed and easy style that belied his formidable technique, Teagarden’s playing was admired by all but seldom imitated.
Weldon Leo “Jack” Teagarden was born into a remarkable musical family that produced three other noted jazz musicians, brothers Charles (trumpet) and Cub (drums) as well as sister, Norma Teagarden (piano). Jack’s father worked in the oilfield and played cornet as an amateur, but Jack’s mother, Helen, seems to have conveyed the musical spark to all her children. As a piano teacher and church organist, she started all off with piano instruction at an early age. Jack switched to the trombone by the age of 7, however, and soon he and his mother were playing duets to accompany silent movies at the Vernon Theatre.
After the father’s death in 1918 the family moved first to Nebraska, then Oklahoma City. Three years later Jack Teagarden left home at the age of 16 to play professionally with the well-known Peck Kelley band of Houston. Teagarden was already so proficient that Paul Whiteman, who was then recruiting in Texas, was ready to hire him and take him away to New York. But Teagarden opted to keep Texas as his home base, playing with several different organizations until 1927.
That year Teagarden left for New York, expecting to audition for Paul Whiteman’s famous orchestra. Instead he ended up competing with Glenn Miller for a seat in another well-known orchestra of the day led by Ben Pollack. Numerous recordings with such greats as Red Nichols, Benny Goodman, and Louis Armstrong followed, and in 1933 Teagarden signed to play with Whiteman for five years. Critics note that Teagarden’s jazz feeling brought a fresh sound to Whiteman’s rather stodgy style of white jazz. With that obligation behind him, Teagarden organized his own band in 1939, which struggled financially through the war years before folding in 1947. In the late forties he recorded with Louis Armstrong’s All-Stars some of the cuts that form the basis for his continuing reputation. From 1951 on Teagarden led small groups that often drew on the talents of his other family members Charlie and Norma.
In addition to his trombone solos, Teagarden also sang in a sleepy blues style that is immortalized in such classics as “Stars Fell on Alabama” and “The Sheik of Araby.”
A heavy playing schedule and a fondness for strong drink are usually cited as contributing causes for his early death from pneumonia in 1964. by Chester Rosson (May 1997)
Teddy Wilson (1912-1986)
Birthplace: Austin
Genre: Jazz
Influenced: Nat “King” Cole, accompanied Billie Holiday, played extensively with Benny Goodman, Benny Carter
One of the giants of the jazz piano, Teddy Wilson enjoyed a universal respect from his peers and lived to become an elder statesman of jazz. Wilson taught piano at the Juilliard School of Music from 1945 to 1952 and toured internationally with the best of his generation of musicians into the eighties. In a style most often described as “elegant” and “refined,” Wilson created some of the absolute masterpieces of jazz, working with such greats as Billie Holiday, Benny Goodman, Lester Young, and Benny Carter.
Texans cannot resist listing Teddy Wilson among their favorite sons, for he was born in Austin, although his mother and father (librarian and teacher, respectively) took him with them to Tuskegee, Alabama, when he was six. At Tuskegee Institute Teddy Wilson studied piano and violin and played clarinet and oboe in the band. Like so many other black musicians who left Texas when they came of age, Wilson, too, left Alabama at the age of 17 to pursue a career in the North.
By 1929 Wilson was in Detroit, apprenticing with Speed Webb. By 1931 he had moved to Chicago, where he found work with the likes of Erskine Tate, Jimmie Noone, and Louis Armstrong. On a 1933 visit to Chicago, jazz fan and empresario John Hammond heard Wilson play and urged him to move to New York, to join Benny Carter’s band. The legacy of these New York days live on in classic early recordings accompanying Billie Holiday.
In 1936 Wilson began touring with Benny Goodman and Gene Krupa in the Benny Goodman Trio. Eager to try his hand at running his own big band, Wilson left Goodman in 1939 and struggled for a year before cutting back to a sextet. CBS studios recorded some of his most memorable sessions in the forties and fifties—both with the sextet and in the trio format. Critics also praise his 1956 recordings with Lester Young and his 1980 “Gentlemen of Swing” recording wtih Benny Carter as highlights of a long and vigorous career. by Chester Rosson (May 1997)
Gene Autry (1907-1998)
Genre: Country Western
Influenced: Singing cowboy-actors such as Tex Ritter and Roy Rogers
Other Sites: The Official Website of Gene Autry, America’s Favorite Singing Cowboy.
By far the most successful movie cowboy singer, Gene Autry starred in more than a hundred movies, wrote songs that have become perennial million sellers, and invested the proceeds in successful businesses that made him one of the wealthiest men in the movies.
But his life began far more humbly. Orvon Gene Autry was born the son of a poor tenant farmer in rural Tioga, north of Dallas. His father moved his family many times before settling in Ravia, near Ardmore in Oklahoma. A typical farm boy of the World War I era, Autry worked in the fields with his father and learned to ride a horse. His grandfather, a Baptist minister, taught him to sing, and at age 12 he received the gift that provided the means to his future success, a guitar. After graduation, Gene traveled with a medicine show for a short time before settling into a job as a telegraph operator at a Frisco Railroad train station. Between duties Autry played his guitar and sang country tunes, which is how he came to be heard by one of the great entertainers of the day, Will Rogers, who had stopped by to send a message. He suggested that Autry should try out singing on the radio.
Autry took Rogers’ advice and auditioned for—and landed—a job at KVOO in Tulsa as “Oklahoma’s Singing Cowboy.” An admirer of Jimmie Rodgers, Autry added yodeling to his repertory and in 1929 made his own first recordings for RCA. Those songs won him a spot on WLS Chicago’s National Barn Dance, which brought wider exposure. Then in 1931 came Autry’s first million seller, “That Silver-haired Daddy of Mine,” a duet with the song’s co-author, his father-in-law, Jimmy Long.
By 1934 Hollywood was interested, and Gene Autry took a singing bit part in In Old Santa Fe. That modest success led to a 1935 contract with Republic Pictures and Tumbling Tumbleweeds, in which he sang eight songs, including the title and his 1931 hit. That film launched him in a succession of profitable movies. In addition, in 1940 Autry also debuted his Melody Ranch radio show on CBS, which ran until 1956. Among Autry’s hit songs of this era, many of which he wrote himself, are “The Last Roundup,” “Mexicali Rose,” “Back in the Saddle Again,” “It Makes no Difference Now,” and “Be Honest With Me.”
In 1942 Autry joined the Army Air Corps and piloted planes in the Far East and North Africa until the end of the war, when he resumed his recording and movie careers. His Christmas recordings of “Here Comes Santa Claus” (1947) and “Rudolph the Red-Nosed Reindeer” (1948) became his all-time best sellers.
Meanwhile, starting in 1942, Autry began looking to his future as a businessman, buying radio stations and television stations when they became available. In the late forties he also formed his own movie production company, which made films and later produced television programs. All those holdings increased tremendously over the years. In 1962 Autry became co-owner of the newly formed Los Angeles Angels baseball team. At ninety and showered with various industry honors over the years, Autry continues to be a legend in his own time. by Chester Rosson (May 1997)
Tex Ritter (1905-1974)
Birthplace: Murvaul, Panola County
Genre: Singing cowboy
Influenced: Generations of movie-goers, for whom he became the Texas singing cowboy
Other Sites: Country Music Hall of Fame, Nashville
Tex Ritter, as he became known in New York City in the early thirties, caught the public’s imagination as a true Texas-born, white-hat cowboy singer. Although Tex Ritter’s musical roots were East Texas Southern, he had credentials better than any of the other cowboy movie stars. In the twenties, Ritter had studied with folklorist J. Frank Dobie and John A. Lomax, the great collector of Texas Cowboy songs at the University of Texas, and he sang more authentic traditional Texas songs in his dozens of films than all the other singing cowboys combined.
Born Woodard Maurice Ritter near Carthage in northeast Texas, he attended the University of Texas from 1922 to 1927, where he was president of the Men’s Glee Club. More interested in music than law, Ritter left Austin without a degree and for a couple of years joined touring musical shows, visiting New York and Chicago. By 1929, however, he had broken into radio, and had found a steady gig singing the newly popular western songs over KPRC radio in Houston.
Like many other musicians of the era, however, Ritter realized that New York City was the place to fashion a career, so in 1930 he set out to try his luck at getting into a Broadway production. In 1931 he landed a supporting singing role in the very successful show Green Grow the Lilacs, the predecessor of Oklahoma, and became the Big Apple’s favorite cowboy. By 1932 Tex Ritter, as he was now billed, was the featured singer at the Madison Square Garden Rodeo and soon had a starring role on one of the city’s first Western radio programs, “The Lone Star Rangers,” where, drawing on his folklore training, he sang authentic cowboy songs and retold campfire tales. He also began recording, finding moderate success with the likes of the traditional “Rye Whiskey” and “Get Along Little Dogie.”
Hollywood came calling in 1936 when Grand National Pictures offered $2400 a movie for a series of B-Westerns. Made in as little as five days, films with titles like Song of the Gringo and Trouble in Texas led to a string of other singing cowboy movie contracts with various studios that continued through World War II. Over a nine-year period Tex Ritter appeared in more than 70 westerns and was one of the top money makers in Hollywood.
Toward the end of his movie career, Tex signed with the new Columbia Records in 1942, and had several country and pop crossover hits, including the memorable “Deck of Cards,” “Hillbilly Heaven,” and “You Two Timed Me One Time Too Often,” but it was his 1952 Oscar-winning soundtrack song for High Noon which assured his lasting fame. Other theme songs followed for faded television shows with a western theme, but Tex’s rendering of the Gunsmoke theme song is engraved in a whole generation’s memory. In 1964 he became the fifth person inducted into the Country Music Hall of Fame, and in 1965, when The Grand Ole Opry granted him life membership, he moved to Nashville.
Tex Ritter’s national and international tours continued into the seventies, and he was preparing for another tour when struck down by a heart attack in Nashville in 1974. His body was returned to Texas for burial near a childhood home in Port Neches. by Chester Rosson (May 1997)
Al Dexter (1902-1984)
Genre: Country Western
Influenced: All other “honky-tonk” singers from Floyd Tillman and Jim Reeves to Waylon Jennings
Al Dexter almost single-handedly established the concept of honky-tonk with his 1937 recording of “Honky Tonk Blues.” His 1943 release of “Pistol Packin’ Mama” brought him enormous fame, was recorded by Bing Crosby and the Andrew Sisters, and made him a wealthy man. It also encouraged the likes of Floyd Tillman to chronicle the hard-drinkin’, hard-loving lifestyle.
Clarence Albert Poindexter got the vision of honky-tonk while working as a housepainter. Longing to express himself, he assembled several bands in the early thirties to play his own music. As early as 1935 he was recording for Vocalion Records, but it was his “Honky Tonk Blues,” for the American Recording Corporation (ARC) that used the term “honky-tonk” for the first time in a song title. Al Dexter, as he was now professionally known, knew whereof he wrote, for in the late thirties he owned a honky tonk called the Roundup Club in Turnertown, Texas.
With the help of his ARC producer, Dexter arranged to record with Gene Autry’s backup band one of the early classics of the genre, “Pistol Packing’ Mama.” It remained at number one in Billboard’s charts for eight weeks and set Dexter up for a national tour. Other country number one hits followed throughout the forties, but none was ever so memorable again.
In the fifties Al Dexter opened his Bridgeport Club in Dallas, where he occasionally sang, but otherwise largely retired from entertaining to concentrate on his business interests. Singing about honky-tonking had made him a wealthy man. by Chester Rosson (May 1997)
Milton Brown (1903-1936)
Birthplace: Stephenville
Genre: Western Swing
Influenced: Bandleaders Bob Wills, Cliff Bruner, steel guitarist Bob Dunn, and modern Western Swing artists, including Asleep at the Wheel
Although a vocalist rather than an instrumentalist—unusual in a band leader—Milton Brown is now credited as one of the creators of Western Swing. Brown has long been seen in the historical shadow of Bob Wills, largely because he died in 1936, at the height of the Swing era, while Wills led successful bands into the seventies. Both had come to the attention of the public through the Light Crust Doughboys, but had gone their separate ways, Wills eventually forming the Texas Playboys and Brown his Musical Brownies. Today, scholars of the period say Brown arrived at the characteristic sound of Western Swing long before Wills arrived at a similar level of sophistication.
As a fifteen year old Milton Brown moved with his family from Stephenville to Fort Worth. He had a fine voice and as he matured, he longed to become an entertainer, but was forced to work days as a salesman for a cigar company. In 1927 he began singing for dances, backed by his twelve year old brother Durwood, but it wasn’t until he was laid off in the first big down-sizing of the Depression that he was able to consider making a living from his music.
The Brown brothers soon got together with fiddler Bob Wills and guitarists Herman Arnspiger and Clifton Johnson to play on radio as the Aladdin Laddies. When that job came to an end, future governor W. Lee O’Daniel set them up to advertise over the radio his Burrus Mill Light Crust Flour as the Light Crust Doughboys. Then came the series of disputes that broke up the band and set up Wills and Brown as musical competitors. So far the standard history.
But the crucial addition of Bob Dunn’s steel guitar to the Brownies mix of fiddles, banjo, bass, and piano in 1935 brought into focus the sound that Milton Brown’s brand of Western Swing was aiming for all along. The results of the new sound that Brown created can be heard in re-releases of some of the Brownies’ classics that feature Dunn’s exemplary playing. by Chester Rosson (May 1997)
Red River Dave McEnery (1914-2002)
Birthplace: San Antonio
Genre: Western
Influenced: Saga songwriters
Red River Dave McEnery has had one of the longest careers in Country music, beginning in the early thirties, when he sang on San Antonio radio, and continuing today, health permitting, to occasional outings at folk festivals and on local television shows, where he is as likely as not to debut a new song he has written on some heated topic of the day. His classic song “Amelia Earhart’s Last Flight” has inspired many a would-be folk-singer and at least one short-lived annual festival, and with the recent publicity surrounding the efforts of a Texas aviatrix to recreate Earhart’s planned world-circling flight, a revival may be in order.
Red River Dave still lives in San Antonio, the city of his birth. Early on he learned to play the guitar, often strumming “Red River Valley,” the song that named him. His singing and his penchant for show business made him welcome on live radio broadcasts as far from home as Chicago and New York City. And in the mid-thirties his writing talents blossomed in the form of lyrics of historical and topical interest—“The Battle of the Alamo” and “Pony Express,” for instance. But in 1937 he came up with a memorable song that captured the national feeling of loss at the unexplained disappearance of pioneering pilot Amelia Earhart. When commercial television debuted at the New York World’s Fair in 1939, Red River Dave was there to broadcast live what is still his most famous creation, along with other country and western songs, both traditional and original.
In the early forties Red River Dave returned to San Antonio and broadcast his songs on Border Radio XERF, offering copies of his songbooks for sale as well. He also appeared in several Western films, including 1944’s Swing in the Saddle, which featured cameos by the Hoosier Hotshots and Nat “King” Cole.
But Red River Dave McEnery is probably best-known for his ballads written on the spur of the noteworthy news events. Among the topics covered in his songs over the years are the ill-fated flight of Gary Powers and the triumph of Apollo 11 as well as such gripping stories as Watergate and the kidnapping of Patty Hearst. It remains for some future historian to piece together the possible Hispanic connection—topical ballads are a strong tradition on both sides of the Texas border with Mexico. by Chester Rosson (May 1997)
Santiago Jimenez, Sr. (1913-1984)
Birthplace: San Antonio
Genre: Norteno Conjunto
Influenced: Many Texas conjunto players past and present, including his sons Flaco Jimenez and Santiago Jimenez, Jr.
Practitioner of an older, more European-influenced style of music, Santiago Jimenez maintained the tradition of the conjunto playing a large variety of dance rhythms, from polkas and mazurkas to waltzes, schottisches, and redovas. His use of the contrabass or tololoche on his early recordings led to the later standard introduction of electric bass in modern conjunto bands. In addition, many of his original compositions have become part of the standard repertory of contemporary conjuntos.
Son of accordionist Patricio Jimenez of Eagle Pass, Santiago Jimenez played two-row button accordion from the age of eight. During his teens he was a sideman for his father at bailes in San Antonio as well as rural dances all over South Texas. He learned a wide variety of traditional European dance tunes to please the Texas Czech and German audiences that hired the band. By the age of twenty he was playing live on San Antonio radio station KEDA. In 1936 Santiago recorded his first disc for Decca, two traditional songs he had learned from his father, for which he was paid the grand sum of $21 a side. When the Mexican Victor label offered $75 per recording, Jimenez gave them twelve songs that preserved some of his best work from the 1940s, among them the perennial favorites, “Viva Seguin” and “La Piedrera.”
All his life he worked as a janitor, supplementing his income with his music earned at dances around the West Side. Never traveling far from his birthplace (except for an eleven-year residency in Dallas during the late sixties and seventies) Santiago played regularly at El Gaucho, a club in the heart of West Side San Antonio. Thanks to such preservationists as Ben Tavera-King of Arhoolie Records (which released a 1980 recording of Santiago playing with his son Flaco and Juan Viesca) and the continuing careers of his sons, the characteristic style of Santiago Jimenez, Sr., continues to entertain today. by Chester Rosson (May 1997)
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