Miguel Gutierrez: 0:22

Welcome to another episode of Charros y Clásicos a Bosky Strings podcast. I'm your host, Miguel Gutiérrez, and I'm here with my good friend and co-host, Joel Ozuna.

Joel Lee Ozuna: 0:30

Hello everyone and thank you for joining us for another episode. Our next guest is from Roma, texas. He holds a bachelor's in music education from the University of Texas Pan American, now known as UTRGV. Today he's a well-accomplished mariachi director from Roma High School. Please welcome Eloy Garza.

Eloy Garza: 0:47

Hello guys, thank you for having me. I'm thrilled to be here. I'm always in the classroom, so it's one of those moments that now I get to step out of the classroom for my students and get to do a podcast. So hopefully something beneficial to your podcast or anyone out there that that they could learn anything from uh my story as an educator in mariachi. So I'm thrilled. Thank you for having me and and uh for taking the time to be here in roma town in mariachi land well, I was about to say, uh, you're stepping out, but you're not stepping out, know?

Miguel Gutierrez: 1:21

Because, we're recording from your classroom, but without students. So first of all, I want to thank you for this lovely pin. People can't see, but this pin is great and I was telling you earlier how I figured out that it was the three, the logo, right. So you're celebrating 30 years.

Eloy Garza: 1:44

That is right 30 years of our amazing program since 1994. Of course, founded by our first director, mr Yamil Yunes, who was my director when I was in high school. So we're thrilled to be celebrating 30 years of this amazing tradition. And now that I'm the director for the program and for Maria Chinos and Tandere, it's just such a privilege and an honor to now come back and give back to our students in our community.

Miguel Gutierrez: 2:14

So now that we get to sit with you, eloy, our young listeners can finally get to know who you are like. They know you as a face, they know you as a figure, they know, they see you and they immediately think Roma. But we really don't know what has uh taking you to this place, to where you are right now in your career, in your life, and we kind of want to get to know a little bit about that, uh. So why don't you tell us where you're from, how you started this career choice? Tell us about that.

Eloy Garza: 2:45

Absolutely Well. The road to where I am now it was not easy. It was a hard road with a lot of challenges, difficulties, but that's the great thing about doing something that you love so much, doing that it doesn't matter the obstacles you face. You have to keep on going until finally you get to the destination and then from there just keep on working hard. But I'm originally from Roma, graduated from Roma High School in year 2000. I'm uncomfortable with my years, so I'll mention year 2000. I'm uncomfortable with my years, so I'll mention the 2000.

Eloy Garza: 3:30

So my background in music it was in first started with the band in middle school. Back then we didn't have a mariachi program. Eventually that was when Mr Yunus started the program I'd already had about a couple of years or three years, but I was too shy to join the mariachi at the time. I stayed in band playing trumpet and then, when I moved to high school, I joined. I got the invitation to join the mariachi and so after graduating from high school I went and pursued my career in music.

Eloy Garza: 4:06

That's what I figured that I was good, okay at. And so I pursued my career in music, first year in Kingsville and then I transferred to UTPA Pan Am to finish my bachelor's in music education and that's where I got also my experience in in in band, and not only that, but to be part of the, the award-winning mariachi astellan, and so that led to many opportunities, many open doors, door, many doors open for me after graduating from pan am and after that I got experience with the professional world playing with Sol de Mexico accompanying Luis Miguel, and after that I came back to serve my community in mariachi education. So it's my 20th year now as a mariachi educator.

Miguel Gutierrez: 4:56

Well, congratulations, thank you. Well, let's slow down a little bit, though, because I feel like that was 20 years worth of information in one, in one sitting. But let's let's go back to what you were saying about. I was too shy. So, first of all, why you play the trumpet? Yes, right, so are you first generation musician in your family?

Eloy Garza: 5:17

I'm not. I've come from a musical family, okay, dating back from my great-grandfather. They were from a small rancho right across the border called La Candelaria, and so my great-grandfather used to be a musician together with my grandfather. So, honestly, I don't know what type of music it was, or, you know, it's something that I need to ask my grandfather so, honestly, I don't know what type of music it was, or, you know what, something that I need to ask my aunt. She knows a lot of the history about what happened back then, all the history behind it, but they used to just get together. He used to play the flute, my grandfather used to play the trumpet, and then eventually the saxophone and violin, but they used to get together and just play Jam out yeah, jam out or for maybe, parties there in el rancho de ellos, como convivios, sí, convivios.

Eloy Garza: 6:19

And even my grandfather he told me when, because they used to travel to Bishop, they're close to Raps Town, right, yes, in Kingsville, father, he told me when, because they used to travel to bishop, they're close to rapstown, right, and kingsville, uh, so they were actually gig they were gigging, yeah, okay yeah, so, and so I don't know if you know, now that I mentioned, that I need to figure out what type of music that was I mean it was not mariachi, but I know that I come from that background of music and then, growing up, I would hear my grandfather together with my dad. My dad plays guitar and my dad was a musician, but he played for himself.

Miguel Gutierrez: 7:00

For his own, and every day.

Eloy Garza: 7:02

He would just come back from work and he would just jam out on the guitar. He was very good at it and he also very good singer to the point that I mean very good singer. He sounded like Pedro Infante, I'm not exaggerating, but he only sang for himself. And so every time we had a barbecue, a gathering, my grandfather would always take his violin and my dad would accompany him and he would play instrumental popular songs and they were singing. My dad would make those segunda, lasia, segunda, and so I grew up with that.

Eloy Garza: 7:44

So I grew up with that and so at that time I was just seeing and enjoying that and just listening and paying attention to what that was. So it just felt normal because it was every weekend and so slowly maybe that kind of um took a role on on me, moving on to playing music and instrument right later on and um, so yeah, I come from that background. That I'm thankful for, for that, because that helped me to try to keep some kind of a tradition, family tradition, and I kind of did, but in a genre of mariachi.

Miguel Gutierrez: 8:34

How old were you when you decided to? Okay, I think I want to try music.

Eloy Garza: 8:40

That was in high school. I know that I really liked it. When I was in middle school. That was in high school. I know that I really liked it. When I was in middle school and moving on to high school, our senior year, that was when we had to declare our major. And my friends back then there were five, six of us and they would ask me hey, so what are you going to get?

Joel Lee Ozuna: 9:03

And I told them.

Eloy Garza: 9:03

You know, the only thing I like is music. So I think I'm just going to write down music, music education, that's the only thing I know how to do, what to do, and so that's what I did, based on what I knew at the time. And my friends also told me, you know what, we're also going to put music and we're planning to to go to to Kingsville to go study music. So because of that, my friends also kind of motivated me to you know what I'm going to do this and I'm just I'm going to give it a, give it a shot. And so that's how I started with, you know, leaning towards music and or in pursuing a career in music, even though it was kind of of a struggle I was, as I was growing, or through the music as a trumpet player, as a student, it came with a lot of struggles. As a trumpet player I was not the type that I was very talented, but I was. I work at it. I had to work twice or three times as much as someone that was a friend of mine or other friends that were more talented than me, and so it came with the struggles and even at that I just knew I had to do it. Something was calling me, something said this is for you. You just have to keep on going, don't give up. Because I could have been to a point that I got to a point several times during that time that I could have just given it up because I felt I was not good enough or I was struggling with it. But something just told me just keep going, keep going, don't stop, don't stop. And so that led me through high school and then same thing through college life. You know, it's like it was a struggle, it was a constant struggle.

Eloy Garza: 10:53

So I had a good thing that I had very good teachers. When I was growing up as a musician, I had an amazing band director that showed me a lot of the discipline when it comes to music and, of course, my trumpet teacher. My band director, mr Alfredo Cortina I was very grateful to have him as a director and my trumpet teacher, mr Rudy Barrera. And my trumpet teacher, mr Rudy Barrera he's amazing, hard worker, super consistent teacher that I learned so much from him At the point that I wanted to give up. He was always there and he just shows the importance of an educator right when there's someone there that somehow believes in you and just keeps pushing you and does not give up on you. So he helped me go through that, through that phase, and so thanks to those mentors and teachers that I had that helped me keep on going. And same thing for professors at the university. I have very good professors that help me go to the next level, and so on and so forth.

Joel Lee Ozuna: 12:05

Speaking of teachers. What can you tell us what it was like? I have very good professors that help me go to the next level, and so on and so forth.

Eloy Garza: 12:12

Speaking of teachers. What can you tell us? What it was like to be a student with Mr Yamin Yunus? Well, that's another educator that right now I consider to be one of my biggest mentors in my education. For any advice I always call Mr Yunus and he's been the person that has always been there for me and supported me throughout this career. For advice, for anything. He's always been there.

Eloy Garza: 12:35

And what I could say that, thanks to Mr Yunus, helped to plant the seed of Mariachi music, that there's something there for mariachi for me. And so he was, I mean, a great director, super smart. He had pretty much at the time. He was one of the ones that started to help mariachi to get to the next level, and so it just took one festival that he took us into Albuquerque, maybe 1997. That was when Solde, mexico was going to be the feature mariachi. So thanks to that festival it opened up a whole variety of options and motivation and inspiration based on that convention or that festival that it opened my desire to wanting to do mariachi.

Eloy Garza: 13:35

When I was growing up, when I would grow up or whenever I get my career, my degrees, I said this is what I want to do. Thanks to that festival and after listening to Jose and Sol de Mexico, I was like you know what? This is what I want to do. Thanks to that festival and after listening to Jose and Sol de Mexico, I was like you know what? This is what I want to do.

Miguel Gutierrez: 13:50

So you mentioned that when you graduated from high school, you spent a year in Kingsville. Yes, tell us about that.

Eloy Garza: 13:57

So at first my thing was I wanted to go into Mariachi and I know Pan Am, at the time they had mariachi, uh, utpa mariachi that I wanted to follow that and I wanted, I wanted it so much. But yet my friends five of my other friends were going to Kingsville. So I was undecided. Undecided about what to do. So there was one of the assistant band directors, miss Kingston, a flute teacher. She told me Eloy, try it out, you have nothing to lose. Try it one year. Look, you're going with your friends. If you don't like it, then you can go back. You can go back to or go to UTPA. And sure enough, I listened to her advice and man, it was amazing. I'm glad I took that, made that decision, and going to Kingsville made a lot of good friends, super talented musicians, the music program over there it was. It was an eye-opening for me because there was so many musicians playing at high level that it just inspired you to to keep working and keep practicing. And so that was a very wise decision of mine of going there, because I met a lot of amazing friends that I still keep in touch with and so that really helped me, motivate me to keep on pursuing my career in music and uh after that. Then of course I had to be doing marching band right, and so I had to. I got to experience that and where usually it takes a whole semester to learn a whole show in high school over there, it's like within a week you have a show. So it was pretty cool to amazing, to to witness uh with these amazing musicians.

Eloy Garza: 15:46

And but after that, that's when, after finishing the year, I had this gut feeling that I had to go back to uh, to I have I have to transfer to Pana. Something told me I want to be where the big mariachis are gonna be, like mariachi vargas, uh, mariachi solde, mexico. And I just knew I had to be where the big mariachis are going to be, like Mariachi Vargas, mariachi Sol de Mexico. And I just knew I had to go, I had to transfer and head myself to Pan Am. And so I sure did. And even though back then we didn't have much information, I just knew I had to do it. And somehow you know I'm very thankful to God because he always guided me through all this process. And so then after that year in Kingsville, my first year, that's where I transferred over to Pan Am.

Joel Lee Ozuna: 16:36

And what was it like transferring to Pan Am after Kingsville?

Eloy Garza: 16:41

It was scary, but I was excited. I was excited because when I reached out to Dr Dalia Guerra that she opened that door for me and she immediately told me Eloy, we're waiting for you, you're going to transfer, we'll help you do all the transferring. Anything you have to do with the transferring, we'll help you out. So Dr Guerra was very instrumental in assisting me and helping me, making that transition very smoothly. And so it happened.

Eloy Garza: 17:13

And I was very excited because I knew I had to go to Pan Am, because I knew through that it was going to get me close to Pepe Martinez.

Eloy Garza: 17:21

It was going to get me close to Jose Hernandez, mariasi, vargas, sol de Mexico, and that's what I wanted to do, that's what I wanted to live and being in that type of atmosphere and environment. And I knew that the UTPA Mariasi was going to take me there. And, sure enough, when I came over, when I transferred over to UTPA, even my former trumpet professor was already waiting for me. He set up a meeting to meet me and see what I had to offer. And, dr Dean Canty, I'm super grateful because remember I mentioned my struggles as a trumpet player. It took three levels. One at high school, when I went to Kingsville, that professor there helped me out, but Dr Canty really pretty much was what it took for me to get to that next level and so he helped me guide through that process and and then eventually that helped me become the trumpet player for UTPA. At that time it was under Dr Dalia Guerra.

Miguel Gutierrez: 18:29

So tell us about when you first met Jose.

Eloy Garza: 18:32

Oh, man, that's Because it's around that time. Well, actually it started back at the festival when Ms Junis took us there to oh, in Albuquerque, in Albuquerque, yeah, man, that was the first time we met Jose Hernandez and I was like, wow, he's trumpet playing and I got to be in the trumpet workshop and he was directing it the first time. And this is the neat thing about it, that trumpet workshop, it was him, don Miguel Martinez Pancho Loco. So there were three amazing triumphant players. The thing is that first day of workshop was sitting have his trumpet and I remember him saying, uh, I forgot. And the following day he brought his trumpet and, man, it was like, oh, man, that's awesome. So let me tell you this remember I mentioned about me struggling, right, I needed any type of advice, I needed some it.

Eloy Garza: 19:34

And I was like you know what? I just met jose, we just know who he is. He's amazing trumpet player. Let me go approach, approach. So I told, uh, some of my friends, and from maria, she, uh, from roma, and said, hey, I want to approach jose hernandez. Nah, nah, you're not gonna do it, because they knew it was jose hernandez who's gonna dare go approach jose hernandez, right, the student mentality.

Eloy Garza: 19:57

And I always tell my students hey, you see someone, a musician sold in mexico, hey, you approach them because they're you know, just after that, you know that they're very approachable, right, but at the time it's like scary, you don't know what to do. Intimidating, intimidating, yes, and I told some of my peers from Mariachi and it's like I'm going to go and ask you for some advice. No, no, you're not Okay. So I went, I saw him going to an auditorium, to the auditorium, and then I sneak into the auditorium and I saw him there. I was like, oh man, he's there sitting down listening to a group. And so he was sitting down at the edge of the aisle and so I approached him and kind of like kneeling so I can go down, right, because he was sitting down, jose, ¿cómo está? ¿cómo está, mijo? No, es que era más un consejo. Small talk, maybe a couple of minutes, three minutes, but for me it was like, oh, wow, man, he gave me very good advice.

Eloy Garza: 21:09

So I went out the auditorium and I told my friends, I told them hey, I spoke with Jose. Nah, you didn't. Yes, I did. So no one believed me. And then, yeah, there was like a break or something. Jose's dentist came out. Hey, then, yeah, there was like a break or something. Jose Andres came out. Hey, my son, what I told you, do this and do it. And you go ahead and do it, go ahead and do it and you're doing very well. And everyone just stared at me. I was like, oh man, you did, with their jaws dropped yeah, yeah, so, yeah, so yeah. And even that time I think it was a little moment where he's like hey, let's go to the hotel, turn around. You're singing with my group, sol de México. José invited me to go and listen to Sol de México's rehearsal. So I went to Mr Yunes. Mr Yunes, what happened? I can't remember. José Hernández invited me to go to the Sol de México rehearsal. How come you have tutuas with Roma? You're with me, I'm not going to let you go. Typical teacher, right?

Miguel Gutierrez: 22:15

Protective yeah.

Eloy Garza: 22:16

Yeah, of course, and now I'm a director, of course You're not going to just let anyone just go like that, right. So I was like, no, no, I was like, oh man, I missed that rehearsal. But yeah, I missed the rehearsal. But then later on I I experienced something more than a rehearsal. But yeah, that was my. That was how I first met, uh, jose hernandez. Wow, that was the very first glimpse of inspiration, of, oh, you know what? There's more there, the peak behind the curtain. Yes, I was like I don't know, but whatever it is, I need to keep on going, I don't care about my struggles. That was where my vision started to get more bigger, to say, you know what, I want that, or whatever it is, I'm going to get there. And I mean, it was the crazy idea at high school level, you know and I want to write like him or one day. I don't know how it's going to happen, but I want to be there, I want to be there. I want to be there next to him playing.

Miguel Gutierrez: 23:20

It's funny that you mentioned writing, so I'm assuming the second time you met him you were already writing, right? Yes, tell us about that.

Eloy Garza: 23:28

Yes, so my first transcription was at high school, maybe as a senior or junior. It was transcribing the song de Jose de El Taka Taka, the trumpet trio. So that was at the time when we went to Albuquerque they released their album, cassette album back then it was a cassette of acapulco girls and and in that album was included the el tacataca and so I loved it. So when I came back, um, when we came back, I I transcribed the trumpet trio. So that was my first beginnings of of writing, the getting a taste of what it is to write. And then after that, in my senior year I took my theory class they were offering to seniors who were going to be going into music and again my friends signed up for it. So I signed up for it. So that pretty much helped me get the foundation of how to write music. For Maria she just gave me the structure of basics of chords, you know first, second and third and other progressions, right? So just by that it helped me to start my first composition, which was a trumpet trio. It's called El Tiquitico, tiquitico, tico. Why? Because my grandfather is Tico, my father is Tico also. El Tico is short for Tico, right? So that's my first composition. It was that trumpet trio called El Tiquitico, and so I set it aside.

Eloy Garza: 25:16

So then I started to do more writing when I was in Kingsville. But when I transferred over to UTPA, that was when Dr Guerra wanted to send us to do a clinic with Jose Hernandez in California. So I was like this is my shot, this is my opportunity. So that's where I started to explore more of writing, and at the time Dr Guerra needed a song so Jose could work with us. And so Dr Herrera said I'm thinking of Poporri de Toros from Mexico, canta, and I'm looking for someone to write it. And without hesitation I was like, dr Herrera, I'll do it and are you sure I'll do it? That was going to be my key, my key to getting an insight of José Hernández. So I got to write in that summer, I got to transcribe that Poporri de Toros of Sol de México, and so that was my ticket to maybe get a little glimpse of see what happens. Glimpse of see what what happens.

Eloy Garza: 26:37

And so when we went to California, then that's what we met again Jose Hernandez, and so the Mexico. We had a clinic. So I I presented well, actually represented the, the score for the Pobre Toros, because that's what Jose was going to be working with us. And so we went to the trumpet section with him and he was looking at the score very suspicious. I was so nervous and he's like he was flipping pages and he's like ¿Quién escribió esto? Y yo hijo de su man? I didn't want to say it.

Eloy Garza: 27:11

And Fernando Aguilar, at the time he was the first trumpet player, he looks at me and and so, no, yo le dije, yo fui hijo, yo lo transcribed Ah, está muy bien, me gusta. I was like, oh man, that was such a relief. So he liked it. And because dijo ya fíjate esto, me gusta el formato, relief, so he liked it. And because he just he, he left it at that. But uh, at that time, yeah, once we were in lunch, I presented to him look, I wrote this trumpet trio, you know. And so just getting more insight in, uh what, any advice on writing and stuff like that. So that was my first steps on getting closer to his world of writing or any advice as far as for me, pursuing that other love for writing. And from there it just kept on after that, when I was with UTPA, mariachi.

Miguel Gutierrez: 28:10

So tell us how you managed to go on tour with him.

Eloy Garza: 28:15

Okay. Well then, that's another story that slowly started leading to that.

Miguel Gutierrez: 28:22

The relationship with him.

Eloy Garza: 28:23

Yes, so then we first went to California Amazing experience. We had a clinic with him. Then we came back, then Dr Herrera said you know what? We're going to bring Sol de Mexico now so we can do a concert we're going to host. And so, wow, that's great, let's prepare for that.

Eloy Garza: 28:43

And so Sol de Mexico came over and at the time, after the concert, everything, we took him out to dinner at Ponchos and Jose was sitting next to me, and then Astelán and the rest of all the Mexico members, and then he was very casual. He just said you know I have a lot of music to write. Y yo decía no, ¿sabes qué Tengo mucha música que escribir y la cosa es que yo escribo todo a mano y quiero tratar de poner mi música para que otros grupos o escuelas comiencen a tocar mi música. ¿verdad? ¿qué te parece? Si te doy trabajo ese ¿Te avientas? Y a plena escena? Yo no quería oírme muy emocionado Cuando me dijo eso. Digo sí, sí, lo hago.

Eloy Garza: 29:46

So that was my first job with him. Nice system set up so he can spread it out to other directors. So that was my first job with him Transcribing. Well, he pretty much gave me his original scores and then, from there, the first album that I started writing for him was Sentimiento Ranchero. So he sent me all the scores, man, it's amazing to witness. It's like big sheets of music scores and his writing, man, flawless. I think Mozart was known for writing as perfect, right, so that's how I see his writing, similar to Mozart, but obviously in mariachi, right, that, no, erasing everything's so clean. And so I transferred all that into computer. So I was doing all the conductor score and all the extracted parts. So that was my first job.

Eloy Garza: 30:46

So every time he was going to go present somewhere, me llamaba a él. Vamos a estar en tal parte. Going to go present somewhere. Me llamaba Elo y vamos a estar en tal parte. Vamos para que Ahí te miro para checar qué es lo que estás haciendo para revisarlo, so I can check it and revise it, or whatever. Así empezó. Me iba a un festival y ahí estaba revisando. Vamos a hacer estas correcciones. Aquí falta esto, esto, lo otro, y así. Y me iba para otro festival. Vamos a ver qué es lo que llevas. I was checking, let's make these corrections. Here's missing this, this, the other, and so on. And I went to another festival. Let's see what you have now. And so I left, and so I left this. The other album after that was the 1981 one, 1981, that was the first album that Solid Mexico recorded, right later released, and so, pero me dice Lory, nada más que hay un problema. ¿qué pasó, josé? No tengo scores para ese they're in here yeah.

Eloy Garza: 31:44

No hallo la música Ya hace mucho tiempo. No la hallo Dije no, no, está bien. No, yo lo hago así, pues, por oído. Ah, pues, ni modo, así me lo aviento. And so, knowing that he didn't have any scores or he could not find them, I actually now, by that time I already knew his way of writing, and so I pretty much printed out the same pages that he would use and I would handwrite the whole score for every track. Wow, and very similar to as if he was writing it. So I did all the scores by hand from 1981. And then I gave that to him as a gift. Wow, and so I kept a copy.

Joel Lee Ozuna: 32:33

Of course yeah.

Eloy Garza: 32:35

And so and after that this is the funny part, man it took me a lot of time, to you know, to do it by ear and transcribing. And then later, eloy, ¿a qué? No sabes qué Qué pasó Encontré los cores? But you know what Everything happens for a reason. You know. That helped me train and be more into the way he would write. He forced me. So, yeah, it would have been great, it would have been much easier, faster to do it if he would have sent me the scores for 1981. But me forcing myself and actually doing just everything by ear helped me a lot because he gave me a different perspective. I had to. I could actually dive into whatever he was writing. So the more I was doing that, I was learning more how he wrote. And so those were two, two of the albums that I did before the tour. That led to that. That's why I'm going slowly, so you can know how it led to that.

Eloy Garza: 33:38

Then, finally, I graduated from UTPA, got my first gig as a teacher. I was looking for a job until finally, there in Rio Grande, they opened the doors for me and Mr Alfonso Rubio, he was my first boss as a director, mariage director, and so he spoke with the supervisor there, and so they got me on board. And so after that first year, that's where I started my first, my first year teaching, and after that year, that's when all the magic, all the amazing experiences happened. Through that first, uh, but it happened first through those opportunities of writing music so let's talk about when you graduated from ut.

Joel Lee Ozuna: 34:29

Well, ut pan-american, right. Uh, your first teaching job was at Veterans Middle School, if I recall correctly, right.

Eloy Garza: 34:36

Well, actually that was after the tour, that was after the tour, so first, at that time, my first year teaching, and I'll admit right now, I'll confess I hated it with a passion. But there was a big turn of events from hating it to loving what I do. But what really did it was after that year, first year of teaching. It was like close to May. I was still doing work for Jose, doing the transcriptions and sending and revisions and all that. It was close to the end of the year and I still remember this, that it was close to the end of the year and I don't. I still remember this as if it was yesterday.

Eloy Garza: 35:17

I went into my. It was like a rehearsal we had. So at the time it was only one high school and one middle school. So I was an assistant and I was taking over one of the middle schools Ringgold Middle School, mariachi Program, the middle school, ringgold Middle School, mariage program and so at the time, at the end of the rehearsal, I felt that I didn't want to do that. I went into my car and I was like I don't want to do this. What is there for me? So I just looked up Dios, ¿qué puedo hacer? No, me gusta esto. I don't know what to do. Check this out. Ten seconds later the phone rang, my phone, and I was like ah, jose, maybe he needs something for music. Ah, ¿qué tal, jose? ¿necesito una copia de algo? No, no, no, no, te hablo para out of the sky that gift.

Eloy Garza: 36:29

I was so frustrated. I didn't want to teach again. I didn't know what to do. At the time I was living with my parents, I needed to work. So, at the moment of desperation, I just didn't want to do that. I looked up and said what do I do? I need something else. I don't know what is it that I need? And that was my exit door. That was my exit door when Jose called me to invite me to go play with him.

Eloy Garza: 37:08

The following day, man, I turned in my letter of resignation and I told my mentor, my boss hey, guess what? I got invited to go play with Jose. Hey, do it. He supported you. No, he supported me 100%. He's like hey, man, go do it. And those opportunities don't come very often, so take it. And so, without hesitation, I accepted that invitation and so, immediately I got moving with my passport that summer, and so by the time I know, I was already heading to California.

Eloy Garza: 37:44

So that was pretty amazing. How you know, I was very grateful and thankful to God because I felt he was always there and guiding me throughout and opening me the doors that needed to be opened, closing the ones that needed to be closed and opening bigger doors. And that's what happens a lot of times, and this is for all those educators out there, young educators that a lot of times you know especially as first-year teaching you know find yourself a good mentor and if it's something that you want to do, you know just keep going and don't forget that you have to ask. Look for good advice for people that have done it before and just don't be afraid of asking. Because I think that was my experience that my first year coming out of college, I played the music.

Eloy Garza: 38:41

I lived it, I performed it, but I didn't have the knowledge to teach it, and that was what's so frustrating, and I could see maybe a lot of young educators get frustrated because they don't have a basic basis of what to do, and so that's why I wanted out from education, and so that was my exit door. I took that opportunity and, man, I went out touring for a year and a half and traveled all over the US, mexico and south america funny.

Miguel Gutierrez: 39:14

You bring up about uh asking questions, so something that joel and I always talk about when you come up in conversation, uh, back when we were together in a group, together right in cintaleguas, yes, and you would always ask questions, and that's something that we we always mention that you will come up to us and say, hey so how do you do this and and how do you do that? And I tell joel man, and lobe has so many questions and at the time you know we weren't understanding why until all these years later, we I told well, this is why,

Joel Lee Ozuna: 39:47

yeah speaking of questions, the funny thing is I remember when we were in leguas, eloy asked me hey, what strings do you recommend? And I'm like man, I fell in love with these vision strings. They're bright, they last long and, to this day, mainly mariachis and, I think, roma. Sometimes, a lot of times, you guys use the vision string. Yeah, and we still do.

Eloy Garza: 40:09

Actually we use Red Label, no, but you know, what it's about asking.

Eloy Garza: 40:16

And you're right, I mean, if it was not you, miguel, it was Joel, and back and forth. Every time we were gig, I would always ask you guys something. And even to right now, to now, I still ask hey, what about this and this? There's always room for learning and improving your craft, you know. And so I was at that moment, at that time, where I was experimenting and exploring and finding other ways to really cut down on those steps and breaking down those steps on what the student should be doing, because at that time, I had already finished this tour. And so, right before finishing the tour, my dream was to be with Sol. Remember, I mentioned about being in high school that one time, one day I don't know how I was going to do it I was going to be there and I did it. And then, after teaching, I wanted out, after touring, rehearsing with Jose on a daily basis, right next to him, learning and this and this, and that Before the tour ended.

Eloy Garza: 41:26

Just this gut feeling again, it's like you need to go back to teaching, you need to go give it another shot. And I was like, why am I feeling this? Look, I'm living what I've been dreaming and even Jose offered aid. Quédate sigue tocando con nosotros, te quedas en California, you take over the as good as it was. Because that was my dream. I said I need to give teaching a second chance. Something's telling me. I just feel it. I have to go back. Seguro me dice Sí, y esto no. Se me olvida Y lo tengo muy marcado. Me dijo bueno, si lo vas a hacer, hazlo bien, nada más.

Joel Lee Ozuna: 42:23

Wow, that's emotional, that's emotional, that's tough Sí.

Eloy Garza: 42:32

Y no se me olvida, hazlo bien, que no se te olvide lo que has hecho. Solo te encargo de eso. Y desde entonces, siempre tengo eso grabado en mi mente Que lo haga bien, hazlo bien, hazlo bien, hazlo bien. Y entonces me ha basado en eso, ¿verdad? Y dejé mi sueño. Y eso es donde el destino a veces te lleva, a un lugar donde a veces no lo esperas. Yo quería este camino, pero Dios me dijo no, te preparé para este otro camino, I camino it's like wow that's what it was all this time.

Eloy Garza: 43:12

To me, it was like I admire don don don ruben, fuentes pepe martinez, jose hernandez, the way they elevated mariachi. They made a difference, all of them, and was like I want to do that in the professional world, but no, no, god had something prepared for me. It was education that he wanted me to make a difference. And so, with that experience, that's when I said now I can go back and do it.

Joel Lee Ozuna: 43:40

And your second time around. How was that you got hired at?

Eloy Garza: 43:43

Veterans. Yes. Then the second time around, that was when I called my former supervisor there in the music in Rio Grande and I said, sir, it was Mr Roger Livarez. That I'm very grateful because he opened the doors for me not just once, but twice. I said, sir, I'm back, I'm not touring anymore and so, in case if there's another opening, eloy, your doors are always open for you, so I come over. So yeah, I started late second semester but he opened the door for me again. And then that was. He said you know what, eloy, come back, because the following year a new school is going to open up, that's Veterans Middle School, and I want you to take over that school.

Eloy Garza: 44:28

And there is history. That's where everything that I learned by touring with jose in the professional world, I applied everything there in in in the classroom when I was at veterans middle school. Now the other missing piece was okay, I know the world, know the world of professionalism, of it, the professional world. Now I need the education portion of it, and this is another story that later now I mentioned. Remember that Ms Trina has been one of the biggest mentors of me in my education, that Ms Trina has been one of the biggest mentors of me in mariage education. At that time I was getting back again into the groove of education and teaching and so I called, I know at the time, Mark Fovorquist. He was a tremendous educator and he had great mariage programs and we even competed that first year that we went to Albuquerque. We competed against him and we won. And we thought, oh man, we won. I think it was from Marichi, from Wenatchee, wenatchee Sí. So at that time his legacy was already pretty much known Mark Fork.

Eloy Garza: 45:38

So I called him up and I asked hey Mark, I just needed advice on this, this and that. And he told me Eloy, you're from Broma, right? Yes, you know, you have one of the greatest mariachi directors there in your own hometown, my friend Mr Emil Yunes.

Miguel Gutierrez: 46:00

He was your former teacher.

Eloy Garza: 46:02

Look, I don't mind helping you, but call him. You have a legend there. I was like you know what? That's true, and that was my first. And then after that, I called Mr Yunus and since then, cada vez que le hablaba ¿qué quieres? Me decía Mr Yunus, un saludo, Mr Yunus. I love you, sir, for all the guidance and mentoring, Y todavía sigue siendo un great mentor for me.

Eloy Garza: 46:39

So since then I've always talked to him for advice students. So I was like okay, the difference from a student and a professional musician is that a professional musician can do it in one step, instantly. Now my philosophy, my thinking, was students can do the same thing, they can play like a professional, but it's going to take them several steps. So my job was to break down those steps to get the student to that level. Break down those steps to get the student to that level. And so that's where the process of bringing routines and then eventually came up with my own mariage curriculum that I implemented when I was at Veterans. That helped very much the entire program, and then I perfected it here in Roma.

Joel Lee Ozuna: 47:24

Let's go back to when you were in Veterans. Let's talk about all the accomplishments, because you started them from scratch yes and you didn't have a name for yourself at that time. That's true, but I remember at the time was he playing with us, right? That's when we were playing together and slowly but surely, you kept. You kept raising the program.

Eloy Garza: 47:42

Tell us about how you're, what it was like and when you're in veterans first, yeah, and pretty much it was starting from scratch and my first year is just implementing some kind of system. Now, keep in mind that I grew up with the band world when I was in middle school and high school and then the experience of Mariachi right, knowing the band program program now for years. They are known to have a very rigorous, strict, disciplined system and the way I grew up is that the system that Mr Alfredo Cortina's had it was something with a lot of fundamentals and very consistent. It has a lot of routine. So my thinking, my thought, was okay, what if I combine both worlds? It was something with a lot of fundamentals and very consistent. It has a lot of routine. So my thinking, my thought, was okay, what if I combine both worlds, both worlds the discipline of band and the discipline of mariachi, and combining those two. So that's where I started to slowly having some kind of routine. I know that at the time there were a lot of programs that were struggling with having some kind of routine. I know that at the time there were a lot of programs that were struggling with having some kind of routine. I was like you know what I grew up in band. This is what we did. So now I need to implement that same idea into mariachi, into different type of routine for my students. And so I started to work, gradually, slowly, but gradually started to work.

Eloy Garza: 49:06

Now, my first year, I think, I took my students to compete in Laredo and my thinking was we need to go out there and at least get a third place. That was my goal. Once we get a third place, I'm in, and then from there, sure enough, we went to Laredo. We got a third place, and to me that was like that's all. I need to have a head start. The following year, that's when the program started to really get keep going, uh, get going, and I tried to implement all the routine, the different fundamentals, the different um, the uh fundamentals for each instrument and for group routines as well. And man, it just started to work. I noticed, you know, it started to work really nicely and we started to get a lot of success.

Eloy Garza: 49:59

That first time I think that second time we went to a competition in Hebronville, hebron, yeah, to a competition in Hebronville, hebron, yeah. And so we won first place. Not only that, I mean we won the overall beating the middle schools and the high schools as well. So that was the first time I was like, okay, so something must be going right, so something must be going right.

Eloy Garza: 50:26

And so at the time, mr Solis he was the director, joe Solis he called me up and said have you thought about taking your students to Extravaganza? No, honestly no, I haven't. Well think about it. Um, since he was the one that hosted the competition in hebronville. So he heard my group and so he said you know what? Think about it? So he's the one that planted the seed to take the kids to to extravaganza. So I was like shoot man, I know, I did it when I was in high school, but you know what, let me give it a shot. And so I presented that to the principal, and so we went to Estraba Anza and we won the first place and from there everything started, from there in 2010.

Miguel Gutierrez: 51:27

How long were you in Rio Grande City?

Eloy Garza: 51:30

Since? Well, my first time teaching 2004, 2005, and then I got out, and then I went back in 2007. And then up to 2013. So what?

Miguel Gutierrez: 51:43

Six years.

Eloy Garza: 51:45

So from there I was able to help the program, uh, get to the next level and um. But again it goes back to to everything that I practiced, everything that I learned. I was like during the tour, I was like a sponge just in taking everything, everything that José was doing when he was directing, I mean on a daily basis. Imagínate dos horas ponle que cinco días a la semana, every single day before each concert we would rehearse. So, man, I was learning so much, learning so much, learning so much. I was learning so much, learning so much, learning so much. And so I saw that everything that was implemented was working.

Joel Lee Ozuna: 52:36

And so yeah, man. So tell us how you got that call from Roma to come back.

Eloy Garza: 52:40

So then I guess they started to notice that my program over there in Rio Grande was pretty much doing really well, and so they wanted they approached me they approached me several times to take the to come and teach, but I was not ready at the time Eventually got to a point, when I was at Veterans, that I just felt I need something else I don't know what it was and I needed a change. And so that was when Roma approached me, called me and said, hey, the position is going to be open, it could be open and you can apply for it, so it'll be open. So come on, they would encourage me to. So that was the change that I needed, to taking over a whole program. And so I had that opportunity, thanks to the administration here in Roma at the time and the board members that trusted what I was doing and wanted to for me to keep doing that here in roma, where in my alma mater and and it was, you know, I was undecided at the time I wanted to, I want to, I know I needed a change. And that evening there was an evening where the board from Roma were going to approve my position, and in Rio Grande they were going to also be doing approving for me to stay. They were going to help me out with maybe a little bit more of an incentive to stay. They wanted to keep me right and of course I created a great bond with the community the students there, administrators, the principal at the time. That was my principal. I had two principals. They were very supportive. So it was hard to to to leave that you get attached to a certain community, right. But I knew I needed a change. So that evening there were two board meetings and I just went to the room and started praying. I was in between, I didn't know what to do. But what closed the deal?

Eloy Garza: 55:06

The superintendent at the time, mr Chuy Guerra. He called me and he pretty much told me look, you're probably undecided of this, but just know that you're needed, we want you to come, that you're needed, we want you to come. And if at one point you were looking for a job back then when you wanted to start teaching and there was nothing for you at the time, I would want you to please forgive us, but now we want you. That's it. He just took that one call from him and you say you know what, sir? I told him and you say you know what, sir? I told him you know what, sir? Yes, I'll accept. And so I I still remember that call and very, very frank. He was very professional about it, very sincere. I felt his sincerity and that's what did it for me to come to roma.

Eloy Garza: 56:04

And then, uh and I know it's going to be a struggle because you know, to come and I had to come in and implement a different system and change is always hard, right, but uh, but I knew what I wanted, I knew what I wanted to implement and uh, and it worked. And it worked, you know, and and now, since 2013 was made, my 12th year here and we've done some tremendous things here in Roma, and I applaud also the students, at present and past, that has gone through the whole system and for entrusting the parents, for entrusting the direction that I had, and, of course, my staff that we, you know you can have the perfect curriculum, but if you don't have a staff that supports it and that implements it, then it's not going to work. And, of course, I have two staff members that I'm super fortunate to have Abiel Hinojosa and Antonio Delgadillo that you know. Abiel, as you know, he's here from Roma, we were playing in the Roma Mariachi together, and so that's key, in a way if you're going to implement something, you have to have people that support it and that they're going to go with it and apply it. So, thanks to all that, all that support, we had great success. And you know, and yeah, it's thanks to all that, all that support, we had great success.

Eloy Garza: 57:28

And you know, and yeah, it's been ups and downs, but if it's all perfect and you know it's gonna be boring. You know, and I've, I've, through my experience, I've learned that I learn more through failures. Failures I mean as far as you want me to go, you want to go and you don't meet that goal, then those is what makes one as an educator stronger. Or you cannot if you don't do anything about it, if you say, ok, what can I do better, what did I fail to do? Then if you don't ask those questions when you don't meet your goals, then there's no growth there and I've learned more with failures than success.

Eloy Garza: 58:10

Everyone can have success. That's great, it feels really good, but as human beings we have the tendency to succeed and we relax or we don't see other things that we usually could see. And when you fail, you get to force yourself to see things that you could not see before, and it makes you better. So it's been, it's been, it's been a great journey. I mean, uh, here to in being now in roma for 12 years and the great things that we've done together with my students, parents and my staff, and, of course, the support of the administration and school board has been tremendous, and and I just have just great things to to say about that- speaking of uh, many accomplishments, you have something coming up can you tell us more about?

Eloy Garza: 58:54

oh, yes, we have. You know why we had. We were nominated to uh to form part of the las vegas walk of stars. Um, we had a um henry uh congressman henry quuellar. He came over to present some certifications for our students and some seniors and that was the day of graduation and so when he was reading our biography he was presented the mariachi with some certificates of appreciation, some certificates of appreciation. So he was mesmerized with the success we've had, not just within the 30 years but just in the past decade. So he took the freedom to nominate us as potential nominees to be inducted into the Las Vegas Walk of Stars.

Eloy Garza: 59:45

So we were approved and, surprisingly enough yeah, it was a big process. You know they were asking me questions back and forth about this nomination and our accolades and this and that and how. You know we're connected to Vegas and I mean we have all these connections obviously now with the programs over there and their directors and everything. So everything just came together and so now, hopefully, by God willing, by the last week of April we're going to be going to the ceremony so we can receive our star. So it's an amazing accomplishment just for our present students, but all the past generations because they were part of that success. So it's pretty nice to now witness that. Well, hopefully to witness it very soon. So hopefully the last week of April we'll be there.

Miguel Gutierrez: 1:00:41

Congratulations.

Eloy Garza: 1:00:42

Thank you so much.

Miguel Gutierrez: 1:00:43

Where do you see yourself in the next 10 years?

Eloy Garza: 1:00:46

Thank, you so much. Where do you see yourself in the next 10 years? Well, helping others more. You know it got to a. There was a certain phase where I was so focused on my craft, on perfecting the curriculum, the classroom students rehearsals this and that, perfecting the curriculum, the classroom students rehearsals this and that that I had to refuse a lot of invitations to go do clinics, to do a region clinic here and there. I had to decline most of them. I didn't start doing that until later on in my career. But now I'm at a point that you know what. Now I want to spread the wealth, how they say. Now I want to try to educate others, other directors that are struggling or that need that help or need some kind of guidance. That's where I see myself, maybe helping others more, other programs and guiding them as much as I can, based on my experience, based on what worked for me. So hopefully my methods or teachings could help other programs and help mariachi. You know, get better.

Eloy Garza: 1:01:57

Every time that's been my goal every time when I decided to come back to teaching that I want to make a difference in mariachi education. I know it's cliche, make a difference, yeah, but honestly that's what I want to make a difference in my age education. I know it's cliche make a difference, yeah. But honestly that's what I want because, knowing that, my first year I didn't want to do it, I hated it. I went back because I knew, you know, the students need to have this exposure, they need to have experience what it is to be successful. And so, knowing that, knowing the commitment that Jose entrusted me to say, hey, you're going to do it, do it right, and so all that, I was like, whatever I can do to make my education better, hey, I'm all for it. And so that's my goal, and always improving my education.

Joel Lee Ozuna: 1:02:42

What's a piece of advice that you have for an upcoming musician that wants to pursue music?

Eloy Garza: 1:02:47

I mentioned it earlier, don't be afraid to ask and like good thing. Right now we have many programs that Marietje has grown so much and there's many directors out there, you know. But I would say, look, if this is what you want to do, just find a good mentor. And if you don't have a good mentor, then look for one and ask. Because I know in my experience I was there once and, like I told both of you, I would always be bugging you with questions, because that's the way to do it. You want to get better, you need to be asking, you need to look for if you like a program that you like, hey, approach the director and ask. But more than anything is that you cannot stop learning. There's always room for improvement and don't give up. Even though something might seem like difficult or maybe that's it for you, hey, there's always a way out. You just have to find ways out until finally you're going to see the light and the other path. But just don't be afraid to ask and find a mentor.

Miguel Gutierrez: 1:03:54

Well, thanks a lot. Thanks for having us here. I think it was a great point of events from you. I've learned so much about you today, too, that I had no idea. So thank you and thanks for sharing your experience with everyone.

Eloy Garza: 1:04:07

Well, it was my honor, Miguel Joel, to share. I don't do this often, but hey, I'm glad we had this conversation and if it can help anyone out there, hey, by all means, and again, I'm here. Anyone that has questions, I'm here to help. I was there once there when you all started, when I was a first-year teacher, and so just know that you're not alone, and this I'll give an advice. If you're going to do something, I'll give you the same advice as Jose told me Do it the right way. I know there could be shortcuts out there, but I'd rather you take the longer route, but doing it the right way. That would help you have a successful career. Just remember that. It might be tempting, but just do the right thing.

Joel Lee Ozuna: 1:04:57

Thank you, Eduardo.

Miguel Gutierrez: 1:04:58

Thank you guys, Thank you.