SANTIAGO JIM�NEZ, JR.
M�sica de Tiempos Pasados,
del Presente, y Futuro
(Watermelon)
If ever there was an accordion dynasty, it would have to be the
Jim�nez triumvirate founded by the late Santiago Jim�nez, Sr.
Although no longer with us, he left two capable sons to carry on the
squeeze-box banner. The elder son, Leonardo “Flaco” Jim�nez, is already
a living legend. Bearing his father’s name, the younger Santiago is certainly
less high-profile but no less an heir to his father’s extraordinary legacy. And
it is with the sincere hope of preserving his father’s yesteryear sound while
still forging ahead into the future, that Santiago Jim�nez, Jr., offers
his latest. Produced by conjunto junkie and Bad Livers bassist Mark Rubin,
M�sica de Tiempos Pasados, del Presente, y Futuro takes
traditional conjunto into uncharted territories. “Chief,” as he is often called
by his friends, is in fine form on a record which includes Jes�s “Jesse”
Castillo on bajo sexto; Rubin on tololoche, tuba, and valve trombone;
Erik Hokkanen on violin; and Abel Rocha on the harp. The eclectic
instrumentation alone makes the album a curious throwback with no recent base
in the kind of popular conjunto that evolved through the Thirties, Forties, and
Fifties. Instead, Santiago and his friends have created an endearing “chamber
conjunto.” While the songs bear the mark of traditional styles, among them
rancheras, corridos, and boleros, there’s an unmistakable
old-world charm running through each tune. Far from a crooner with honey pipes,
Santiago is a spotty, hard-working vocalist whose voice reeks of sincerity and
long hours spent learning styles that most conjunto musicians tend to stay away
from, such as the redova, the chottis, and even a German-style
polka complete with tuba and valve trombone. While the spirit of the cantina
can be faintly detected in polkas like “La Nopalera” and “El Satelite,” or a
corrido such as “Gabino Barrera,” the songs hearken back to a time before the
accordion was considered a working-class expression. They are much more
reminiscent of the 19th-century orquestas t�picas, small anteroom
ensembles, sal�n-era entertainment provided for guests in the interest
of musical taste and good breeding. Unsurprisingly, some of the best songs are
purely instrumental. Past, present, future, or a clever synthesis of all three,
this is a lovely homage to the truest beginnings of border music. The record is
vibrant and warm, a splendid addition to any serious Tex-Mex musical
collection. – Abel Salas
This article appears in July 14 • 1995 and July 14 • 1995 (Cover).