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Alejandro Escovedo

No one has really ever been able to define themselves and their music like singer-songwriter Alejandro Escovedo does. His life in music of all kinds sometimes feels like a swirl through the sky, where his songs point out all the majesty and mystery of how he sees the world. The sounds he makes take him places that he might not even predict, but once there, greatness always follows. It’s just the way Escovedo is. It has happened over and over for decades, almost like a fateful agreement he has with the cosmos. There is a good chance it cannot be explained, especially by him.

Maybe that’s because this is a musician who feels magic, both in himself and the world around him, and is open to the experience of whatever comes his way. It is not always easy, and can have a high demand on how a person lives. But it is the way that Escovedo is always moving forward.

On this new album, Alejandro Escovedo has taken a road rarely traveled, which is totally in keeping with how he has lived his life in music. Echo Dancing is an experiment in how to use the past to shape the future. By recording completely new and repurposed versions of songs from his past, Escovedo actually gets a chance to rewrite his own history. It’s also an idea that pushes growth into the present, and asks an artist to see themselves anew. “I always feel that a well-written song can withstand a lot of abuse,” Escovedo says. It is an area of creativity that the man has always honored. “Turning a past song inside out leads to discovery of new ideas you might not have understood about the song,” he says. “Even lyrical refurbishing has proven helpful and effective. It’s like interpreting your own work anew. The songs never seem to be complete. They are always evolving.”

And with those words, Alejandro Escovedo succinctly explains the new levels of artistic exploration he’s undertaken on his new album. It’s a unique adventure into recording new versions of songs from his past, and approaching them as challenges to totally express what the music means to him today. Songs like “Bury Me” and “Castañuelas,” while they were powerful in their original form several years ago, now announce themselves as highlights of Escovedo’s long career. They speak to an eternal world that lives inside so much of his music, like it was formed in a way that cannot age. There is something very permanent in the career of the Texas- born artist, an inner flame that is always there. It feels like it is a part of musical history that is rarely captured at such peak performance, let alone reappears with a new life. If the life of an artist is always to push ahead, to leave what was done alone in favor of contemporary creations, then Escovedo’s basic concept of Echo Dancing is a revolutionary concept of high beliefs. That the past can live again as a reborn entity.

“I was planning this record just prior to boarding a plane to Italy to record with Don Antonio and Nicola Peruch,” Escovedo says. “My original idea was to record an album of new material. But then I changed my mind and thought that revisiting songs from my various past albums throughout my career would be more interesting. I have a great faith in these two artists to always create something interesting with whatever I might bring to the session. These songs were already dressed for the dance.”

Everything on Echo Dancing has a feeling of absolute freshness about it, and at the same time,
there is a strong link to the past. It’s almost like reincarnation in the recording studio, but everything seems brand new. All the musicians are dedicated to finding the new amongst the songs’ prior history. It is not something that happens often, and it surely has never occurred quite like it does on this fascinating new collection.

Alejandro Escovedo knew that an experience like the one he was embarking on needed all the freshness he could find, and off he went to Italy. Sometimes there are now choices in how to approach a new vision. It simply has to be started with total dedication. “I find that recording in a foreign country opens the creative eye in a way that working at home lacks,” he says. And the way the experiment works was proof that today’s approach to these songs has a rock-solid beauty to it. A new sonic world has opened. “Surprises were a daily occurance,” the musician says, “and we embraced them with exuberance. Is it the beginning or the end? I feel there have always been certain songs on my albums that have guided me to new approaches in my music. That is really the goal of recording. To keep moving forward no matter what it takes. That’s why I continue to work on new ways to tell these stories.”

Truer words were never spoken than Alejandro Escovedo’s love for exploration in the music he writes and plays. The son of a Mexican immigrant and a Texas native, the sounds that Escovedo first discovered and then performed morphed into all kinds of exciting styles of his life. A member of the first-wave punk rock group The Nuns in San Francisco, he moved to New York and joined the Judy Nylon band and experienced the total electricity of the late 1970s there. Moving then to Austin was a radical shift of geography and musical style when Escovedo helped form one of the country’s first so-called Cowpunk adventurers. It often seems like the man has been on a pirate-like adventure through the kinds of music he is drawn to. Those sounds are usually new and often have a strong edge of the avant-garde in them. Deeply embedded in the burgeoning Austin scene in the 1980s, Escovedo was a prime architect in the new band True Believers, which included his brother Javier and Jon Dee Graham. In many ways the band helped build the gateway to the whole burgeoning Americana music scene which prospers to this day, but it was also the turning point for Alejandro Escovedo to take his
life in his control and record solo albums. In the thirty-plus years since that decision has come a wild roller-coaster ride of groups, spinoffs, tribute albums and even original dramatic projects and experiments. In 1998, No Depression Magazine named him Artist of the Decade. For this musician, though, that was just the start of a life that twists and turns wherever Escovedo’s clearly uninhibited imagination takes him.

The 21st century has been a time of widely successful excursions that only a few American musicians are able to create. Between adventurous solo albums, continuing collaborations with other musicians, and an ever-growing sense of boundary-breaking, Alejandro Escovedo has created his own definition of what a modern rock artist can accomplish. Which is exactly why Echo Dancing comes at the perfect time for this man. While it does seem Escovedo has his own category of accomplishments, to now bring together these songs he has previously recorded and inject such exciting new and different life into them is a complete exoneration of his belief in the future.

“I said goodbye to certain phases of my life as I have grown,” the musician says. “I greeted new acquaintances musically. And I was extremely surprised by the outcome. That is the thrill of being alive. I feel we have now made a beautiful collection of songs recorded in an effortless vibe of collaboration and camaraderie. I can’t give Nicola and Antonio enough credit and thanks for their musicianship and wide-open approach to making this album. And I should also mention Ivano Giovedi, who incredibly engineered the recordings. He did an amazing job.”

“Everyone involved has guided me to new approaches to my music, like other musicians have my whole life. I have always worked hard to discover new ways to tell the story. I’ve never hidden my love for Brian Eno, Roxy Music, Judy Nylon, Cluster, along with the Stooges, New York Dolls, MC5, Roky Erickson, Lightnin’ Hopkins, Joe Ely, Terry Allen; you get the picture. There is always more work to be done and joy to be made. I am nowhere near finished.

Echo Dancing makes sure Alejandro Escovedo’s evolving circle remains unbroken.

Alejandro Escovedo

A celebrated singer and songwriter, Alejandro Escovedo has as eclectic a background and body of work as any rock artist of his generation. As comfortable performing with a string ensemble as he is with an amped-up power trio, and as likely to bare his soul in his lyrics as he is to display some serious rock & roll swagger, Escovedo had already played an important role in punk (with the Nuns), roots rock (the True Believers), and alt-country (Rank & File) before he launched a solo career that’s seen him work with everyone from John Cale to Bruce Springsteen. Beginning with 1992’s Gravity, Escovedo’s music has been consistently literate, ambitious, and eclectic, with 2001’s A Man Under the Influence exploring different genres and approaches from track to track, while 2008’s Real Animal and 2016’s Burn Something Beautiful focused on passionate, guitar-based rock & roll. 2018’s The Crossing (and its 2020 Spanish-language counterpart La Cruzada) told a richly detailed story of the immigrant experience.

 

Alejandro Escovedo was born in San Antonio, Texas on January 10, 1951, one of 12 children. His family was steeped in music: His father played in mariachi bands and swing combos both before and after he emigrated from Mexico to the United States. Alejandro’s older brother Pete Escovedo is a jazz artist and studio musician; he was a member of Santana and founded the group Azteca. Another older brother, Coke Escovedo, also worked with both jazz and Latin groups, enjoyed a solo career, and was a member of Santana and Malo. Pete’s daughter Sheila Escovedo became a pop star as Sheila E. Alejandro’s younger brother Javier Escovedo founded the early Los Angeles punk band the Zeros. And another younger brother, Mario Escovedo, played in the hard rock outfit the Dragons.

 

Given his family’s history, it’s no surprise that Alejandro developed a passion for music. He moved with his family to California and attended high school in Huntington Beach, where he frequented local rock clubs and ballrooms, seeing acts like Jimi Hendrix, Buffalo Springfield, the Doors, the Seeds, and the Flying Burrito Brothers. While Alejandro was a serious music fan, he didn’t take to playing an instrument right away, and when his father gave him a guitar, he ended up passing it on to his brother Javier. Alejandro moved to Hollywood in 1973 after the breakup of his first marriage, and he became a fan of glam and proto-punk acts like the New York Dolls and the Stooges, who frequently played on the Sunset Strip. He also saw an early L.A. appearance by Patti Smith. In 1974, Escovedo moved to San Francisco, with his second wife, Bobbie Levie, where he intended to study film production. He and his friend Jeff Olener hatched an idea for a movie about a rock band that couldn’t play, and while casting the picture, they ended up forming an actual band, the Nuns, who were one of the first acts of note on the San Francisco punk rock scene. The Nuns became a steady draw on the West Coast, and were one of the opening acts when the Sex Pistols played their infamous final show at Winterland in San Francisco in 1978. However, when the Nuns set out on an East Coast tour, Escovedo immediately fell in love with New York City, and opted to stay there rather than return to the Bay Area.

 

Escovedo became a figure on New York’s Lower East Side music scene, and joined the band of avant-garde vocalist Judy Nylon, but in 1980 he got a call from Chip Kinman of the Los Angeles-based leftist punk band the Dils. The Dils had just broken up and Kinman and Escovedo were forming a new band that would mix punk energy with country song structures; after the Kinman Brothers moved to New York, they joined Rank and File with Ritchie Dietrich and Jeff Raphael. Before long, the group settled in Austin, Texas and Escovedo played on the outstanding 1982 debut album, Sundown. However, he quit Rank and File in 1983 when he and his brother Javier chose to start a band of their own, the True Believers. With Austin native Jon Dee Graham joining Alejandro and Javier on guitars, the True Believers fused a rootsy approach with a heartfelt rock & roll attack, and they were stars in Austin and a favorite with critics. However, their self-titled debut album (released in 1986) didn’t quite capture their on-stage impact, and a reorganization at their record company led to their second album being pulled from release only two weeks before it was due to come out. Frustrated, the True Believers broke up in 1988 (a retrospective album, Hard Road, was released in 1994 and included their unreleased second album), and Alejandro and Javier formed the short-lived, glam-influenced band Buick MacKane. During his time with the True Believers, Alejandro began focusing more seriously on his songwriting, and as he worked a day job at a record store, he began working out material with a diverse range of Austin musicians. Escovedo was soon playing out with a rotating variety of players he dubbed the Alejandro Escovedo Orchestra and he developed a new following in Austin. However, his marriage with Levie was falling apart, despite the couple welcoming a daughter in 1990, and the failing relationship began informing Escovedo’s songs. In 1991, Levie committed suicide, and a year later, Escovedo released his first solo album, Gravity, through Austin’s Watermelon Records label. A striking meditation on love, loss, and grief, Gravity received rave reviews, and Escovedo threw himself into his solo career. In 1993, he released his second album, Thirteen Years, a concept piece informed by the rise and fall of his marriage to Levie. In 1994, Escovedo was in a one-off semi-supergroup, the Setters, with fellow songwriters Michael Hall and Walter Salas-Humara, and signed a deal with Rykodisc, the independent label that successfully released the True Believers anthology. In 1996, they released With These Hands, Escovedo’s ambitious third solo album, and a collection of Buick MacKane material, The Pawn Shop Years, followed in 1997. However, Escovedo’s relationship with Rykodisc quickly crumbled when sales of With These Hands proved disappointing, and he was soon without a label.

 

It wasn’t long before he found new champions at Bloodshot Records, Chicago’s pioneering “insurgent country” label. Escovedo had assembled an album from a handful of live recordings, and Bloodshot released More Miles Than Money: Live 1994-1996 in 1988, in time for Escovedo to be named “Artist of the Decade” by alternative country journal No Depression. Escovedo also appeared on a Bob Wills tribute album assembled by Jon Langford with his ad hoc group the Pine Valley Cosmonauts, and in 1999 he released Bourbonitis Blues, a combination of live tracks and studio material that featured fresh originals alongside covers of songs by Ian Hunter, John Cale, and the Gun Club, among others. 1999 also saw Escovedo appear on the album More Oar: A Tribute to the Skip Spence Album, which featured him alongside Robert Plant, Tom Waits, Beck, Robyn Hitchcock, and many more. In 2001, he released A Man Under the Influence, an ambitious and musically diverse set that earned him some of his best reviews to date. The album also received some scattered airplay for the song “Castanets,” though when Escovedo learned the song appeared in a mix on President George W. Bush’s iPod, he declined to perform it again until Bush left office. Two songs on A Man Under the Influence were originally written for a play on the Mexican-American immigrant experience, By the Hand of the Father, and an album of the show’s full score was released in 2002.

 

In April 2003, Escovedo was performing By the Hand of the Father in Tempe, Arizona when he collapsed shortly after the show ended, having vomited up blood earlier that day. He was living with Hepatitis C and the disease was threatening to claim his life. A longtime heavy drinker, Escovedo gave up alcohol and took on a rigorous regiment of treatment. Lacking medical insurance, fans and musicians began sponsoring benefits to help cover his hospital bills, and in 2004, a double album entitled Por Vida: A Tribute to the Songs of Alejandro Escovedo was released to raise more money for the artist, featuring interpretations of his songs by Lucinda Williams, Los Lonely Boys, Charlie Musselwhite, Ian Hunter, the Jayhawks, the Minus 5, and 25 others. A collection of performances by the Alejandro Escovedo Orchestra was also released to fans under the title Room of Songs in 2005.

 

John Cale, long one of Escovedo’s major influences, recorded a version of “She Doesn’t Live Here Anymore” for Por Vida, and when Escovedo was healthy enough to begin working again, he invited Cale to produce his next album. The Boxing Mirror, his first release under a deal with the EMI-distributed Back Porch Music imprint, was a powerful effort released in 2006. In 2008, Escovedo went into the studio with David Bowie and T. Rex producer Tony Visconti to cut a lean rock & roll album, Real Animal, a set of songs co-written with guitarist Chuck Prophet, who anchored his new road band, the Sensitive Boys. Escovedo also joined a new management team, Jon Landau and Barbara Carr, who also handled Bruce Springsteen’s career. Springsteen, a fan, brought Escovedo on-stage with him to perform a duet version of Escovedo’s “Always a Friend” during a stadium show in Houston, which appeared on Springsteen’s EP Magic Tour Highlights. Springsteen also made a guest appearance on 2010’s Street Songs of Love, another Visconti-produced set that was Escovedo’s first release through Fantasy Records. 2012’s Big Station would prove to be Escovedo’s last album with Visconti and Prophet; and in 2014 set out on a co-headlining tour with former R.E.M. guitarist Peter Buck, in which Buck and his band (guitarist Kurt Bloch of the Fastbacks, bassist Scott McCaughey of the Young Fresh Fellows and the Minus 5, and drummer Bill Rieflin of Ministry and Swans) backed up Escovedo after finishing their own set.

 

A second tour with Buck and his band was put on hold after Escovedo had another health scare, and while honeymooning in Mexico with his fourth wife, Nancy Rankin, their friends home was hit by a Category Four storm, Hurricane Odile. The two struggled with PTSD in the wake of the hurricane, and both went into treatment as they struggled with its aftereffects. Rankin’s work on “Queen of the South” TV series led the couple to spend several months in Dallas, Texas, and Escovedo was invigorated by his new surroundings after becoming disenchanted with the growing gentrification of Austin. The Escovedos settled down in Dallas, and as they healed both physically and emotionally, Alejandro returned to an album he had planned to write and record with Buck and McCaughey. Recorded in Portland, Oregon with Buck, McCaughey, Bloch, and drummer John Moen of the Decemberists, 2016’s Burn Something Beautiful also included guest appearances from Corin Tucker of Sleater-Kinney, Steve Berlin of Los Lobos, and frequent Neko Case collaborator Kelly Hogan.

 

A tour of Europe found Escovedo sharing stages with the Italian rock band Don Antonio, and Escovedo struck up a friendship with the group’s leader, Antonio Gramentieri. The two collaborated on a set of songs about two young men — one from Italy, one from Mexico — who come to America to follow their dreams. Escovedo recorded the songs on his 2018 album The Crossing; Don Antonio served as his backing band for the sessions, with guest appearances from Wayne Kramer of the MC5, James Williamson of Iggy and the Stooges, and John Perry with Peter Perrett of the Only Ones. In 2019, Escovedo and his wife Nancy relocated outside of Austin, Texas in the hill country. In 2020, Escovedo issued La Cruzada, which featured Spanish-language interpretations of the 17 songs from The Crossing. The album first appeared in a limited-edition for Record Store Day, and was given a full release in September 2021.

 

 

Crossing borders, jumping barriers, taking risks, betting it all: that’s the path Alejandro Escovedo has been taking in his lifelong search for the heart of rock and roll.

Alejandro’s new album,  The Crossing (YepRoc Records, September 14) is about that journey: searching, but not necessarily finding, eyes and ears open all the way.  It is his first for Yep Roc Records and his first ever recorded in Europe.   “This says more about me than any of my records without it being a record about me,” Alejandro says.

The Crossing tells the tale of two boys, one from Mexico, one from Italy, who meet in Texas to chase their American rock and roll dreams. They discover a not-so-welcoming, very different place from the Promised Land they imagined, with cameos from the likes of Wayne Kramer of the MC5, Joe Ely and James Williamson of the Stooges to show the boys the way.

It was recorded in an Italian farmhouse near Mogdliana and features his collaborator and co-songwriter Don Antonio with his band whom will be backing and opening for Alejandro. Don Antonio has backed numerous American acts in Europe but this will be their first ever tour of the US.

Escovedo’s  trailblazing career began with The Nuns, San Francisco’s famed punk innovators, to the Austin-based-based alt-country rock pioneers, Rank & File, to Texas bred darlings, True Believers, through countless all-star collaborations and tribute album appearances and finally a series of beloved solo albums beginning with 1992’s acclaimed Gravity, Escovedo has earned a surplus of distinctions: No Depression magazine’s ‘Artist of the Decade’ Award in 1998 and the Americana Music Association’s Lifetime Achievement Award for Performing in 2006, just to name two. His last album Burn Something Beautiful was co-produced, written and recorded with Peter Buck and Scott McCaughey.  Alejandro worked with producing legend Tony Visconti (David Bowie/T-Rex)  on Real Animal and Street Songs of Love; he has previously worked with Chuck Prophet, John Cale, Los Lobos, Willie Nelson and Bruce Springsteen.  Now Hepatitis C free,  Alejandro serves as a spokesperson for the Prevent Cancer Foundation “Think About the Link” campaign about the link between viruses and Hep C. As an official showcasing artist, the Alejandro Escovedo Band with Don Antonio will debut The Crossing at the Americana Music Association Festival 2018 at the Americana Music Stage, hosted by WMOT Roots Radio, NPR Music and World Cafe.

“You just do your good work, and people care,” Alejandro says. “I always believed, when I was a kid, that if you worked hard, you would find fulfillment. I think I got a lot of that from my father and my brothers. A working musician is all I ever wanted to be. Hard work, stay true to what you want to do, and then eventually someone would notice for that very reason.”

Crossing borders, jumping barriers, taking risks, betting it all: that’s the path Alejandro Escovedo has been taking in his lifelong search for the heart of rock and roll.

Alejandro’s new album,  The Crossing (YepRoc Records, September 14) is about that journey: searching, but not necessarily finding, eyes and ears open all the way.  It is his first for Yep Roc Records and his first ever recorded in Europe.   “This says more about me than any of my records without it being a record about me,” Alejandro says.

The Crossing tells the tale of two boys, one from Mexico, one from Italy, who meet in Texas to chase their American rock and roll dreams. They discover a not-so-welcoming, very different place from the Promised Land they imagined, with cameos from the likes of Wayne Kramer of the MC5, Joe Ely and James Williamson of the Stooges to show the boys the way.

It was recorded in an Italian farmhouse near Mogdliana and features his collaborator and co-songwriter Don Antonio with his band whom will be backing and opening for Alejandro. Don Antonio has backed numerous American acts in Europe but this will be their first ever tour of the US.

Escovedo’s  trailblazing career began with The Nuns, San Francisco’s famed punk innovators, to the Austin-based-based alt-country rock pioneers, Rank & File, to Texas bred darlings, True Believers, through countless all-star collaborations and tribute album appearances and finally a series of beloved solo albums beginning with 1992’s acclaimed Gravity, Escovedo has earned a surplus of distinctions: No Depression magazine’s ‘Artist of the Decade’ Award in 1998 and the Americana Music Association’s Lifetime Achievement Award for Performing in 2006, just to name two. His last album Burn Something Beautiful was co-produced, written and recorded with Peter Buck and Scott McCaughey.  Alejandro worked with producing legend Tony Visconti (David Bowie/T-Rex)  on Real Animal and Street Songs of Love; he has previously worked with Chuck Prophet, John Cale, Los Lobos, Willie Nelson and Bruce Springsteen.  Now Hepatitis C free,  Alejandro serves as a spokesperson for the Prevent Cancer Foundation “Think About the Link” campaign about the link between viruses and Hep C. As an official showcasing artist, the Alejandro Escovedo Band with Don Antonio will debut The Crossing at the Americana Music Association Festival 2018 at the Americana Music Stage, hosted by WMOT Roots Radio, NPR Music and World Cafe.

“You just do your good work, and people care,” Alejandro says. “I always believed, when I was a kid, that if you worked hard, you would find fulfillment. I think I got a lot of that from my father and my brothers. A working musician is all I ever wanted to be. Hard work, stay true to what you want to do, and then eventually someone would notice for that very reason.”

Renowned songwriter, singer, true believer, Alejandro Escovedo released Burn Something Beautiful on October 28th, 2016 via Fantasy Records. The new album, Escovedo’s first solo endeavor since 2012’s highly acclaimed Big Station, is in actuality, a highly collaborative affair. Teaming with Peter Buck (R.E.M.) and Scott McCaughey (The Minus 5) to co-write the album’s songs, Escovedo also enlisted the pair to act as the project’s producers.

 

Escovedo and company take some mighty big swings here. At once a celebration of the rock and roll life, a contemplation on mortality, and the healing power of love, Burn Something Beautiful connects repeatedly with Escovedo’s soulful heart and voice at its core. Recorded in April at Portland’s Type Foundry studio, the project coalesced with the help of an esteemed group of musicians who give the album a genuine band feel. They include guitarist Kurt Bloch (The Fastbacks), drummer John Moen (The Decemberists), vocalists Corin Tucker (Sleater-Kinney) and Kelly Hogan (Neko Case, The Flat Fie) as well as saxophonist Steve Berlin (Los Lobos).

In a trailblazing career that began with The Nuns, San Francisco’s famed punk innovators, to the Austin-based-based alt-country rock pioneers, Rank & File, to Texas bred darlings, True Believers, through countless all-star collaborations and tribute album appearances and finally a series of beloved solo albums beginning with 1992’s acclaimed Gravity, Escovedo has earned a surplus of distinctions: No Depression magazine’s Artist of the Decade Award in 1998 and the Americana Music Association’s Lifetime Achievement Award for Performing in 2006, just to name two.

“You just do your good work, and people care,” Alejandro says. “I always believed, when I was a kid, that if you worked hard, you would find fulfillment. I think I got a lot of that from my father and my brothers. A working musician is all I ever wanted to be. Hard work, stay true to what you want to do, and then eventually someone would notice for that very reason.”

Renowned songwriter, singer, true believer, Alejandro Escovedo released Burn Something Beautiful on October 28th, 2016 via Fantasy Records. The new album, Escovedo’s first solo endeavor since 2012’s highly acclaimed Big Station, is in actuality, a highly collaborative affair. Teaming with Peter Buck (R.E.M.) and Scott McCaughey (The Minus 5) to co-write the album’s songs, Escovedo also enlisted the pair to act as the project’s producers.
Escovedo and company take some mighty big swings here. At once a celebration of the rock and roll life, a contemplation on mortality, and the healing power of love, Burn Something Beautiful connects repeatedly with Escovedo’s soulful heart and voice at its core. Recorded in April at Portland’s Type Foundry studio, the project coalesced with the help of an esteemed group of musicians who give the album a genuine band feel. They include guitarist Kurt Bloch (The Fastbacks), drummer John Moen (The Decemberists), vocalists Corin Tucker (Sleater-Kinney) and Kelly Hogan (Neko Case, The Flat Fie) as well as saxophonist Steve Berlin (Los Lobos).
In a trailblazing career that began with The Nuns, San Francisco’s famed punk innovators, to the Austin-based-based alt-country rock pioneers, Rank & File, to Texas bred darlings, True Believers, through countless all-star collaborations and tribute album appearances and finally a series of beloved solo albums beginning with 1992’s acclaimed Gravity, Escovedo has earned a surplus of distinctions: No Depression magazine’s Artist of the Decade Award in 1998 and the Americana Music Association’s Lifetime Achievement Award for Performing in 2006, just to name two.
“You just do your good work, and people care,” Alejandro says. “I always believed, when I was a kid, that if you worked hard, you would find fulfillment. I think I got a lot of that from my father and my brothers. A working musician is all I ever wanted to be. Hard work, stay true to what you want to do, and then eventually someone would notice for that very reason.”