San antonio westside sound

While purists of the West Side Sound maintain that the genre has remained strictly within the saxophone tradition backed by piano triplets, it has been argued that the music developed to incorporate other intercultural forms.

This became apparent in the early s when some of the musicians, including Sahm and Meyers, ventured more openly into the traditional country and western music that they listened to and performed when they were children. Rocky Morales and other native-born San Antonio horn players also appeared with Sahm there.

John, and Bob Dylan. The album featured horn-driven piano triplets, traditional country and western, and conjunto. The West Side Sound may have reached its apex of popularity during the s.

Allen O. The following, adapted from the Chicago Manual of Style , 15th edition, is the preferred citation for this entry. But unlike scenes in other places, the Westside Sound never completely went away.

In the s, 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. But, he says, a hallmark of the sound is simplicity. And it was very important to play the triplets.

Playing them by ear rather than reading charts was the Westside Sound, too. Longoria, 42, is another local keeping the Westside Sound alive through collecting records and sharing his research with the world.

Corona recorded traditional Spanish music ensembles. Rio Records issued records by young Mexican Americans playing all kinds of sounds. Rio Records owner Hymie Wolf would record anyone who came in, press up copies, and service jukebox distributors and radio stations with copies. 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.