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Best of SA 2013: 4/24/2013
Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Music: Chris Pérez never saw it coming. “All I ever wanted to do was play guitar,” he told the Current. “I never thought I’d be the subject of an interview... By Enrique Lopetegui 8/28/2013
Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

Arts & Culture: Let’s face it, most of us Lone Stars view the Texas coast as a poor man’s Waikiki. Hell, maybe just a poor man’s Panama Beach — only to be used... By Callie Enlow 7/10/2013
Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Arts & Culture: In one of the final chapters of his book To Selena, With Love (out March 6), Selena's widower Chris Perez mentions that Abraham Quintanilla, his former father-in-law, once... By Enrique Lopetegui 3/7/2012
A Look Back at SA\'s Homebrew History

A Look Back at SA's Homebrew History

The Beer Issue: Homebrewing is a foundational American virtue. Not just Sam Adams smiling back from the bottle that bears his name—virtually all the... By Lance Higdon 10/15/2014

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Leticia Rodríguez, Eva Garza’s Niece, Presents ‘La Americana’ at Esperanza

Photo: COURTESY PHOTOS, License: N/A


Americanas united by blood and music: Leticia Rodríguez

Photo: , License: N/A

Eva Garza

Leticia Rodríguez has big shoes to fill — those of her aunt Eva Garza (1917-1966), the San Antonio singer who achieved international fame in the ’40s and ’50s with hits like “Celosa” and “Sabor de Engaño.” But Rodríguez will fill those shoes the only way she knows how: by doing her own thing. Her 2012 all-Spanish album, La Americana (which she will present Sunday at Esperanza), is as much about Garza as it is about herself.

“I never knew Eva,” the Austin-based multi-disciplinary artist told the Current. Rodríguez was a baby when Garza traveled throughout Latin America, and her memories of her aunt come from the stories her family told her: Garza singing and practicing around the house in between tours. “We kept up with her through her music,” said Rodríguez.

After 10 years working for Austin’s Believe in Me project (an empowerment program that teaches children through performance art), in 2000, Rodríguez founded and spent another decade running Performance Encounters, a theater arts company in which she created original works dealing with Latino identity and assimilation issues. At Performance Encounters, she produced, directed, wrote, and rediscovered her love of singing. That’s how La Americana was born.

“You think of Americana music as country-western or jazz or something that is not Latin,” Rodríguez said. “But ‘La Americana’ [The American] represents an American with Latin roots and it was something that I wanted to emphasize with that title. Americana music, to me, is roots music of all kinds, including Latino music. And I mean the Americas, not just the United States.”

But she needed a creative partner, and Lisa Morales (of Sisters Morales fame) was the perfect choice. She’s a Latina musician well-versed in Americana and Latin music, and a friend of the family. The pair spent almost two years working on the concept, arrangements, and feel of the album, and the result is a collection of Latin American classics (tango, bolero, cumbia, rancheras) with a heavy Afro-Cuban accent.

“Leticia is a dancer, so everything she does comes from within a dancer’s soul,” said Morales, who will perform with her band at the San Antonio Botanical Gardens on Thursday. “I enjoyed producing La Americana, we became family.”

Even though Rodríguez’ voice is completely different than that of her aunt (Garza was a technical cantante, while Rodríguez is a gutsy cantora), the album works because it isn’t just covers. Even in cases like the two tangos she recorded (Carlos Gardel’s “Milonga sentimental” and “Volver”), Rodríguez and Morales transformed the songs into something new: “Milonga sentimental” became an unusual sort of Afro-Cuban cumbia, while “Volver” is just a duet between Rodríguez’ voice and a tasteful guitar played by France’s Christian Fernandez. It is a special CD and a special show — she will sing surrounded by photos from the exhibition “Eva Garza and Las Divas of Mexican Song,” which will be up at Esperanza through July. “I feel a very strong calling to continue the tradition of some of this music for the generations that don’t know it,” said Rodríguez.

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