immigrants came to Texas, they brought with them a brand of polka that was stitched into the quilt of Texas sounds. Texas polka is performed by family bands that have prevailed through generations. T e Baca bands of Fayetteville, originated with Frank Baca, who immigrated in 1860. T e Patek family bands, from Shiner, reached their heyday in the 1950s, stem- ming from John Patek Sr.’s immigration to America in 1889. T e Krenek family (includ- ing polka pioneer Ed Krenek and dulci- mer-playing Ray Krenek) has also been pro- ducing music for more than 150 years. T is distinct music later blended with
sounds from just south of the border cre- ating a sound unique to Texas—conjunto. Valerio Longoria, honored in the polka com- munity, became a pioneer in that sound. And what’s Texas music without the
rich contributions of the Tejano and con- junto sounds. T e genres evolved through an amalgam of cross-cultural in fl uences from Northern Mexicans, South Texans, Anglo-Americans, African-Americans, Czechs, Germans, Italians and others. Like the people of Texas, it is diverse. Narciso Martinez (father of Texas-
Mexican Conjunto), Armando Marroquin
Viva Big Bend, which takes place in July, features multiple bands in a variety of venues spread around Alpine, Marfa, Fort Davis, and Marathon.
and Paco Betancourt helped revolutionize Tejano music when they started the IDEAL Record Company in 1946 in Alice. T e company recorded almost every Tejano musician in the state, including Freddy Fender, whose career soared in the 1970s. Its impact is the reason the
Tejano Music Hall of Fame is in Alice. So, listen closely and you’ll hear the Texas
sound—an amalgamation of Texas cultures. It may be one of these genres or a melodic mixing of them all. One thing’s for sure, you’re going to have a hard time keeping your feet still. ★
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