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Martinez Music Legacy: 311’s SA Martinez takes music tradition laid down by father and grandfather in new direction
Once in a while, and not nearly often enough, an editor or publisher will approach me with a story idea instead of the other way around. In the case of this story The Reader and El Perico publisher John Heaston asked me to write about the music legacy of an Omaha Latino family – all three generations worth. The star of the story is SA Martinez of 311 rock band fame. SA is a rapper and turntable artist. His father Ernie is a jazz guitarist. And Ernie’s later father Jose Bonificia was a jack of all instruments way back in the day. It’s a short, simple, feel-good story with some meaty heritage attached to it.
SA Martinez of 311
Martinez Music Legacy: 311’s SA Martinez takes music tradition laid down by father and grandfather in new Direction
©by Leo Adam Biga
Originally appeared in The Reader (www.thereader.com) and El Perico
Singer-songwriter-turntable artist SA Martinez is a cog in the successful rock band 311 that started in Omaha 21 years ago and is still going strong today from its Southern Calif.-base. Recordings and national tours keep the group, whose founding members remain intact, a popular draw.
While he’s reached musical heights, SA is not the first professional musician in his family. His father Ernie Martinez and late paternal grandfather Jose Martinez preceded him. SA feels part of “a legacy” that extends to his musical siblings.
“We always loved music. We all did it, sang it, performed, whatever…just always had nothing but great times with music. It was just a constant,” says Martinez.
He has only “vague memories” of his grandfather, but he does have his old mandolin as a link to the man and the music.
“I’ll look at the mandolin and wonder just exactly how he came into possession of it and what songs was he playing on this thing.”
Sure, SA’s, a rock star, but his elders made their marks on their own terms.
Jose Bonificia Martinez emigrated from Mexico to the U.S. in the early 1900s. He worked as a water boy on the railroad in Texas before migrating to Gary, Indiana, where he landed in the steel mills. In Sioux City, Iowa, he worked in a packing house and played music on weekends. Ernie marvels that his father learned to play the mandolin, fiddle, upright bass and guitar. Jose met his wife Helen, Ernie’s mother, in Sioux City.
After moving to Omaha in 1930, Jose worked the slaughter house kill floor and played in a band that performed South Omaha house parties.
“I remember him telling me they’d cross the river into Council Bluffs to play festivals in the Hispanic section,” recalls Ernie, who was born in Omaha.
Tired of the dirty, dangerous, backbreaking kill floor, Jose became a hired hand for a livestock producer in Gibbon, Neb., where Ernie and his siblings grew up. Jose found a measure of fame fronting his own band, The Kid and His Friends, on a live show broadcast by KGFW radio in Kearney, Neb. and sponsored by a feed store. The signal reached deep into the Platte Valley, bringing the band new gigs at festivals and fairs.
By the early 1950s Ernie began gravitating to music himself. “I listened to a radio broadcast out of New Orleans coming from the Roosevelt Hotel every Friday night — Tony Almerico and his (Original Dixieland Jamboree All Stars) band.”
Ernie learned to play “off the radio” — “I’d get the note from the first chord they played and I’d go from there. Somehow my dad had acquired an upright bass from a traveling salesman and he built me a little stool and I’d jump up on that stool and start messing around with my fingers, thumping away. Then he’d take me down, put the bass away and he’d show me a few chords on the guitar.”
Fast forward three decades later and Ernie, by then a journeyman jazz guitarist with local house bands, was schooling SA.
“We’d sit down on occasion and he’d try to teach me something, but he didn’t honestly have any patience when it came to instructing on an instrument,” says SA. “I remember setting his stuff up in the basement and kind of tooling around on it and just having fun.”
SA grew up steeped in his father’s sideman life.
“Come the weekend he was getting ready to go play somewhere. I just remember that whole era of the ‘70s — the polyester suits, the jewelry, the cologne. Before he’d go out he’d pat my face with some cologne.”
He came to respect his old man’s chops.
“My dad played bass growing up but he’s really a better guitarist and the style of guitar he plays is very wide actually. He can play like the Wes Montgomery, really dope jazz chords. cool and rich sounding, and then he can bust into some cool folk Mexican stuff. He definitely has a pretty deep memory.
“He had a couple buddies who’d come over from time to time. Johnny Vintore played keyboards. Another guy by the name of Charlie Davis played trombone. Just really cool dudes with loads of talent. They had their good times. It’s really cool thinking back on that whole scene.”
Ernie, who worked a regular job at a truck line, gigged at night spots when Omaha was still a hopping live music hub.
SA never saw his dad on stage, but often witnessed him practice or jam at home. He also absorbed the jazz tunes his pops spun, instilling an appreciation for the standards. Together, they “listened religiously” to KVNO radio’s Primetime Jazz hosted by Bill Watts
“Man, that was a killer show and he played like the bomb jazz,” recalls SA. “We loved listening to that show.”
Immersed in music at home and at school, where he played viola and trumpet and sang, SA was destined for a life in music. “It’s weird, I always kind of knew in the back of my mind something like that would surface for me, I just didn’t know when or how.” 311 took off in the ‘90s here at the Ranch Bowl and the Peony Park Ballroom. He ascribes the group’s unusual longevity to “chemistry” and “just hard work.”
“It really is an experience I’m blessed to be a part of. It’s a never ending rock ‘n’ roll fantasy.”
Last July, 311 had its first homecoming show in a long time when it played the Red Sky Music Festival at TD Ameritrade Park. SA says entertaining family and friends after a show like that is more draining then the concert itself. “But it’s a lot of fun.”
SA’s daughter shows signs of continuing this unbroken line of Martinez music makers. “She loves it. She lights up,” SA says. Ernie’s proud it’s lasted four generations, saying, “It amazes me what my dad started.”
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Omaha arts-culture scene all grown up and looking fabulous
Omaha arts-culture scene all grown up and looking fabulous
©by Leo Adam Biga
Originally published in Metro Magazine (www.spiritofomaha.com)
Twenty years ago Omahans grumbled about there not being enough to do here. For a city searching for an image in a flyover state straining to retain its best and brightest and attract new talent, it sounded an alarm.
Seemingly, Omaha arts-culture plateaued. Major players retrenched while smaller, newer ones tried finding their way. It appeared Omaha collectively lacked the vision or confidence to enhance its horizons. The status quo went stale.
Then, whether by design or coincidence, Omaha enjoyed a renaissance in the space of a single generation. This flowering shows no signs of slowing down.
“Over the last 20 years Omaha has grown up a lot and the arts have grown up with it,” said Todd Simon, an Omaha Steaks International executive and a major arts funder. “There’s certainly a lot more variety and a lot more choices for our community. Any night of the week you can open up the newspaper or go on the Web and you can find something of interest to you. Whether it’s music, art, film, live theater, there is something for everyone every night of the week in Omaha now.
“If you’re bored here it’s because you’re not breathing. If you can’t find something to do in Omaha right now, shame on you.”
Saddle Creek Records executive Jason Kulbel was among those bemoaning the lack of options. No more.
“Simply put, there’s more to do now,” he said. “There’s so many different things to pick and choose from. Whatever interests you, whatever your thing is, it’s here now. It’s really cool.”
He champions the live indie music scene now having more venues and he embraces the festivals that have cropped up, from MAHA to Playing with Fire to the newly announced Red Sky Music Festival.
Kulbel and SCR colleague Robb Nansel have added to the mix with their block-long North Downtown complex. It includes their company headquarters, the Slowdown bar-live music showplace and the Film Streams art cinema. Together with the new TD Ameritrade ballpark, Qwest Center Omaha, the Hot Shops Art Center and the Mastercraft art studios, anchors are in place for a dynamic arts-culture magnet akin to the Old Market.
From the opening of the downtown riverfront as a scenic cultural public space to the addition of major new venues like the Qwest and the Holland Performing Arts Center to the launching of new music, film and lit feasts to the opening of new presenting organizations, Omaha’s experienced a boon. Major concerts, athletic events and exhibits that bypassed Omaha now come here.
Artists like world-renowned Jun Kaneko put Omaha on the map as never before. The indie music scene broke big thanks to artists recording on the Saddle Creek label. Alexander Payne immortalized his hometown by filming three critically acclaimed feature films here. The Great Plains Theatre Conference brought Broadway luminaries in force.
The Old Market solidified itself as a destination thanks to an array of restaurants, shops, galleries, theaters and creative spaces. The Bemis Center for Contemporary Arts, the Blue Barn Theatre and the Omaha Farmers Market became anchors there. Omaha Fashion Week and the Kaneko added new depth.
Omaha Performing Arts president Joan Squires said she’s seen “a huge change” since arriving eight-plus years ago from Phoenix to head the organization, which programs the Holland and the Orpheum Theater.
“The first time I drove in from the airport the Qwest Center didn’t exist, the Holland wasn’t here, a lot of the small groups weren’t around. If you were looking for things to do and it wasn’t the Orpheum or a few other places, it was limited. Now on any given night the breadth of what you can do is exciting. There’s a synergy about it that’s reaching all segments of the audience.”
Omaha native Rachel Jacobson left New York to launch Film Streams, one of several attractions that’s taken things to a new level.
Growing up here, she said, “there was a lot of good stuff to do but nothing really bringing people to town or being talked about in the national and international press, other than Chip Davis. Today, the Omaha arts community is strong, it’s alive, it’s visceral, it’s something we’re known for worldwide. Musicians continue to move here from other cities to make their home here because of Saddle Creek Records. Visual artists move here because of the Bemis and Jun and Ree Kaneko. New galleries are opening up all the time.
“It has really blown up in the best way.”
Established organizations have shown new life. Joslyn Art Museum built a huge addition designed by noted architect Sir Norman Foster. It’s since added a pair of sculpture gardens. The Durham Museum underwent a refurbishment and gained Smithsonian affiliation. The Omaha Children’s Museum found a new home and completed extensive renovations. The Omaha Community Playhouse redid its theater and lobby spaces. The Henry Doorly Zoo built the Lied Jungle, the Desert Dome, the Lozier IMAX Theater and other new attractions.
The Bemis expanded its gallery exhibition schedule and educational programming as well as added the Underground and the Okada. Now it’s poised for new growth.
Existing organizations found new digs.The Omaha Symphony made the Holland its home. The Emmy Gifford Children’s Theater moved into the old Astro (Paramount) movie house, renamed The Rose, and became the Omaha Theater Company.
Popular events drew ever larger crowds, such as Jazz on the Green, the Cathedral Flower Festival, the Summer Arts Festival and the CWS.
Photos Courtesy of Omaha Performing Arts
Even with all the new options, it didn’t appear as if Omaha reached a saturation point. Using the Holland and Orpheum as examples, Joan Squires said the presence of these two venues has only increased patronage.
“When you open a major facility and you bring in new arts offerings the community continues to lift up,” she said. “It broadens and really makes more things possible. In the last five years we’ve reached 1.7 million people. We’ve seen nights where both buildings sold out and there’s a lot of arts going on at other facilities all at the same time, and there’s an audience for everybody.
“We’ve got a growing and thriving arts community. I think it’s very encouraging.”
Funder Dick Holland describes the arts as “an economic engine” and “a big part of the community.”
Great Plains Theatre Conference artistic director Kevin Lawler, a Blue Barn founder, has seen a more adventurous scene develop.
“There are several new generations of artists making work in all genres and receiving support and interest from their peers and others,” he said. “This heralds the beginning of a new, vibrant era for arts and culture here. That small group of philanthropic leaders who have been supporting the arts in Omaha for years have enabled enough fertilization for this new blossoming to begin.
“When we began the Blue Barn there were almost no theaters willing to take on new, challenging work as a regular part of their seasons. Now, there are a number of groups that follow this path.”
Lawler notes there “is a new generation of artists staying in Omaha to make work because they feel there is enough energy in the community to support and respond to their work. I feel this trend reflected not only in theater, but all the arts.
“There are stages to the cultural life of a city. Omaha is in a blossoming stage. It is a rare and exciting time to be here.”
The linchpin behind this growth is private support. “Omaha has an exceptionally generous philanthropic community that understands the value of investing in its cultural institutions,” said Bemis director Mark Masuoka, adding that funders here appreciate the fact the arts “improve quality of life.”
He said the Bemis is close to reaching its $2.5 million capital building campaign goal “thanks to several generous gifts from local foundations and individuals.”
What losses there were sparked new opportunities. After years of struggle the Great Plains Black History Museum rebounded. When Ballet Omaha folded Omaha Performing Arts brought in top dance troupes and Ballet Nebraska soon formed. The Omaha Magic Theatre closed only to birth new ventures. The Indian Hills Theater was razed but Omaha movie houses multiplied. The Kent Bellows Studio and Center for Visual Arts arose after its namesake’s tragic death.
The recession impacted large and small organizations alike.
Todd Simon said, “Many not-for-profits have struggled and I think they’ll continue to struggle in these economic times, but I also think there is a dedicated group of supporters in our community who will step up to fill the gaps.” These lean times, he said, encouraged “many organizations to get smarter in how they use resources and how they collaborate with each other, where they leverage the talent and the resources they have. I think that trend will continue.”
Dick Holland said few cities can boast Omaha’s philanthropic might. He favors a public-private coalition to undergird and concentrate arts funding.
By any measure, it’s been an era of net growth for the creative community and leaders see more progress ahead thanks to a spirit of innovation and support.
“A strong legacy of investing in the arts here has been established and I believe it will continue to proliferate,” said Rachel Jacobson. “We’ll see new initiatives develop, especially arts in education and social-community development arts projects. There are a lot of high-energy, incredibly innovative people who have a huge heart for this city and will make a strong commitment.
“Just in the last month I’ve heard about wonderful projects in the works. I’m excited for the next 20 years.”
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