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Joe Ojeda

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Joe Ojeda
Born1968 (age 56–57)[1]
Laredo, Texas[2]
GenresTejano, cumbia, Rock en español
Occupations
  • Keyboardist
  • songwriter
  • arranger
  • record engineer
Instrumentkeyboards
Years active1985 (1985)–present
Labels
EMI Latin, Hollywood Records, Q-Productions, Peace Rock Records, Factoria Sounds, Joe Ojeda Music
Formerly of
Spouse
Raquel
​
(m. 1996)​
Websitewww.facebook.com/SelenaImpersonatorLaredo/

Jose "Joe" Ojeda (born in 1968) is an American keyboardist and songwriter. Demonstrating a proclivity for music from an early age, Ojeda began assembling a band and eventually partnered with Pete Astudillo to form Los Bad Boyz. The duo performed locally until a Laredo-based DJ secured them a regular slot at a local nightclub. Their performances gained the favor of the club's staff and management, who recommended them as an opening act for Selena y Los Dinos. Impressed by their stage presence and musicality, the group's manager, Abraham Quintanilla, and the members of Los Dinos invited Los Bad Boyz to serve as regular openers. In December 1988, Ojeda and Astudillo integrated into Selena y Los Dinos, with Ojeda taking on the role of second keyboardist alongside Ricky Vela.

Ojeda and Astudillo's influence was featured in Selena (1989), their first studio album to feature compositional and production input. A.B. Quintanilla, the group's bassist and producer-songwriter, was particularly drawn to Ojeda and Astudillo's integration of cumbia music. He encouraged the adoption of this stylistic blend, recognizing its potential to broaden the group's appeal and infuse an "international flavor" into their sound. Their collaborative influence helped diversify the band's sonic identity beyond its earlier repertoire. Ojeda co-developed the foundational arrangement for "Baila Esta Cumbia" (1990), a track that marked a significant commercial breakthrough for the group in Mexico.

Following Selena's death in March 1995, Ojeda took a hiatus from music. In 1996, he co-founded The Chris Pérez Band with Los Dinos guitarist Chris Pérez. Ojeda co-wrote much of Resurrection (1999), which won the Grammy Award for Best Latin Rock or Alternative Album in 2000. After the release of their second album, Una Noche Más (2002), Ojeda withdrew from music to focus on his family. In the early 2010s, Ojeda briefly explored rock music with Ruido Añejo before returning to Tejano music with Astudillo in the group Pete Astudillo y Tekno-Mex. Touring ceased indefinitely following the COVID-19 pandemic. The release of Selena: The Series (2020-21) on Netflix reignited Ojeda's interest in performance, prompting him to pursue a solo career.

Life and career

[edit]

1968–1988: Early career and Los Bad Boyz

[edit]

Jose "Joe" Ojeda[3] was born in 1968 in Laredo, Texas.[1] From a young age, Ojeda displayed an inclination toward music, often choosing to listen and watch his uncles play guitar rather than playing with his cousins. In 1978, after persistent requests, his mother purchased a used organ—despite its four broken keys—to support his passion. Ojeda would turn on the radio to play along, developing his skills through informal practice.[1]

In 1985, Ojeda began searching for a vocalist for his band.[4] A mutual friend introduced him to Pete Astudillo.[5] Ojeda and Astudillo bonded over their shared musical tastes.[1] Together, they formed Los Bad Boyz and debuted at the reception hall of Astudillo's brother, Rogelio, who owned a catering business. Rogelio frequently recommended them to customers who couldn't afford live music. Los Bad Boyz struggled to book bigger gigs, often facing rejection from promoters, even when offering to perform for free. Astudillo believed their lack of recognition and the skepticism surrounding a two-person band contributed to these setbacks.[5]

Frustrated by these challenges, Ojeda and Astudillo considered quitting music. However, local DJ The Bird Locutor #2 discovered them during a flea market performance.[6] In August 1988, The Bird gave them a regular Tuesday night slot at Rox-Z in Laredo during Tejano nights, albeit unpaid. Although largely unnoticed by the audience, their music resonated with the club's staff and owners. Recognizing their potential, The Bird suggested that Los Bad Boyz open for bigger acts.[7] In September 1988, they opened for Selena y Los Dinos, a band featuring lead singer Selena, A.B. Quintanilla as producer-songwriter and bassist, Suzette Quintanilla on drums, Ricky Vela on keyboards, and Jesse Ybarra on guitar.[8][9] Managed by the Quintanilla siblings' father, Abraham Quintanilla, the band had already become one of Texas's most requested Tejano groups on radio stations.[10]

Initially skeptical of a two-person act,[5] Abraham was impressed by Los Bad Boyz's performance.[11] After the show, he approached them, inquiring about their management and offering his business card.[7][12] Soon after, Abraham asked them to join Selena y Los Dinos on tour as an opening act, which they accepted.[4] At the time, Ojeda was working at Auto Shack and found Abraham's offer appealing, as he disliked his job. Los Bad Boyz's first gig opening for Selena y Los Dinos was in Robstown, Texas. En route, Ojeda and Astudillo were pulled over in Agua Dulce, Texas, where police discovered Ojeda had unpaid tickets and arrested him.[1]

Astudillo contacted Abraham, who persuaded the police chief to release Ojeda. During sound check, Astudillo asked Ojeda to extend their intro, but in doing so, Ojeda accidentally blew out one of Los Dinos' tweeters. Abraham stormed onstage, damnded answers, and told Ojeda he wouldn't be paid. Ojeda held Abraham in high regard, seeing him as fair and driven to push both bands to their best. He often heard Abraham tell his son A.B. to "sound good", viewing him as a coach-like figure with high standards for performance.[1] Although Abraham was hesitant to officially bring Los Bad Boyz into the group due to financial concerns and the band's early success, A.B. gradually convinced him.[7] On December 25, 1988,[8] after a performance in Midland, Texas,[4] Ojeda and Astudillo officially joined Selena y Los Dinos, with Ojeda as the second keyboardist and arranger and Astudillo taking on multiple roles in the band.[13]

1989–1995: Selena y Los Dinos

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During the 1989 Tejano Music Awards, Rick Trevino invited Selena y Los Dinos to be the opening act for the awards ceremony after La Sombra declined the offer. Representatives from CBS Records and newly formed EMI Latin attended the awards event to scout for new musical acts.[14] EMI Latin's president, Jose Behar, wanted to sign Selena y Los Dinos to his label, while CBS was offering twice EMI's offer.[15] Abraham found EMI Latin's proposal appealing due to the potential for a crossover deal, and he intended for his children to be the first musicians to sign with the company.[14]

The production of the group's debut album began in June 1989.[16] The goal of Selena was to be an introduction into the international Latin music market, with future sights into an English-language crossover.[16] The band became "a bit more trendier and a little bit cutting-edge" on Selena with experimental production and songwriting.[13] It was the first album with any production and songwriting assistance from Astudillo and Ojeda.[17] Television personality Rock 'n' Roll James observed that following the addition of Ojeda and Astudillo to Selena y Los Dinos, the group's repertoire became markedly more diverse in musical styles compared to their earlier recordings. He believed that A.B. recognized in them an "international flavor" capable of propelling the band to greater prominence.[18]

A.B. was particularly fascinated by Ojeda and Astudillo's incorporation of cumbia music when they were a duo and insisted that Vela and he incorporate their style in future recordings.[1] Ojeda and Vela learned how to complement each other as keyboardists. Ojeda believed he was the raw talent and saw Vela, who held a music degree, as being "school talent" who was a professional and an expert.[1] Ojeda enjoyed recording "Amame, Quiereme" for Selena due to its lush, synth and keyboard-driven soundscape.[18] The track was nominated for Vocal Duo of the Year at the 1990 Tejano Music Awards.[2]

Selena y Los Dinos frequently incorporated cover songs into their live repertoire, with "Juana la Cubana" being a recurring selection. During one performance, Astudillo prompted Ojeda to open the song with a solo keyboard introduction. Ojeda improvised a syncopated riff with rhythmic embellishments that captured Astudillo's attention. Astudillo urged him to retrain the motif. After the concert, he requested that Ojeda reproduce the passage; however, Ojeda, having improvised the figure spontaneously, struggled to recall the precise voicing and articulation. Surrounded by the band, Ojeda eventually reconstructed the phrase, enhancing it with additional harmonic layers and rhythmic complexity. A.B. responded favorably to the arrangement, which ultimately served as the foundational groove and melodic framework for "Baila Esta Cumbia" (1990).[1]

The band engaged in pre-production sessions at A.B.'s house, where Abraham would regularly drop by to observe their progress. It was Abraham who championed the idea of having Selena cover "La Tracalera" for their second studio album, Ven Conmigo (1990). Abraham and Ojeda believed the track could serve as their breakout hit. In contrast, "Baila Esta Cumbia" was initially dismissed as unlikely to achieve commercial success. "Baila Esta Cumbia" ultimately launched Selena y Los Dinos' popularity in Mexico, a market traditionally resistant to Tejano acts.[19] The song was later certified 6x platinum by the Recording Industry Association of America (RIAA).[20]

After guitarist Chris Pérez joined the band following Ven Conmigo, he and Selena began secretly dating. Ojeda inadvertently discovered them kissing on the tour bus.[21] In his memoir To Selena, With Love (2012), Pérez recounted how Selena enjoyed teasing him playfully, often kissing him in front of Ojeda, Astudillo, and A.B., knowing it would make him blush. Ojeda, caught between his loyalty to the band and respect for Abraham, found himself in a difficult position.[21][22] He told Pérez that if Abraham were to ask who had known about the relationship, he would rather quit the band than betray Abraham. Ojeda joked that he'd need to be bribed with food—a running joke that lasted about three months until Selena and Pérez got tired of getting him food.[1]

For Entre a Mi Mundo (1992), the group diversified their sound, Ojeda brought traditional "street music" from Laredo.[2] He helped A.B. with naming the title for "La Carcacha".[23] The album became the group's "breakthrough album",[24] and ranked second in Billboard magazine's Regional Mexican Albums all-time best-sellers chart in 1994.[25] In March 1994, Selena released Amor Prohibido, critics called it the group's "crowning achievement" and the singer's best work.[26][27] As of March 2024, Amor Prohibido has been certified 41× platinum (Latin), denoting 2.46 million album-equivalent units sold.[28] Amor Prohibido is the second-highest certified Latin album in the United States trailing only her posthumous album Dreaming of You (1995).[29] Amor Prohibido is the fourth best-selling Latin album of all-time in the US with over 1.246 million copies sold as of October 2017.[30] The recording has been ranked as the best-selling Tejano album of the 1990s,[26] and the best-selling Tejano album of all time.[31][32][33] On March 31, 1995, Selena was shot and killed.[34] Ojeda was the last Los Dinos member to be informed, as he slept through constant phone calls from the band. He rushed to the hospital, where he was met with a weeping Abraham who embraced him and told him the news.[1]

1996–2002: The Chris Pérez Band

[edit]

Ojeda struggled to cope with Selena's death, avoiding her music for an extended period. He credited his wife and daughters with providing the emotional support that helped him navigate the grief and begin to heal.[18] Ojeda co-wrote tracks on Astudillo's Como Te Extrano (1995). Rene Cabrera of the Corpus Christi Caller-Times, noted his contribution on the album alongside former Los Dinos members, saying few know how to craft recordings like they do.[35] By March 1996, Ojeda begun training as a recording engineer at Q-Productions.[36]

In early 1996, Pérez and John Garza met at an Extreme concert. Believing music could serve as a cathartic outlet for Pérez, A.B. facilitated an impromptu jam session that included Ojeda. The trio's chemistry inspired them to continue collaborating, ultimately forming The Chris Pérez Band, focusing on being a bilingual rock band.[37] Initially, they considered Cinco Souls but quickly abandoned it, reasoning that Pérez's name would inevitably identify the band. Garza later remarked, "We're a band where everyone gets their moment to shine on stage, and that's what truly matters—to me and to Chris."[38] Ojeda found this to help with the grieving process for him.[18] Although all three members had roots in Tejano music, their passion leaned heavily toward rock. The lineup expanded to include bassist Adreil Ramirez and drummer Jorge Palacios. Despite their enthusiasm, the band faced skepticism and hostility due to their Tejano origins. Vice president of A&R Julian Raymond and Arista Records executive Cameron Randle saw the group's potential for crossover success. Among their supporters was Carlos Santana, who became a friend and advocate. Randle described the band as standing at the crossroads of American pop music, seeing them as emblematic of cultural fusion.[38]

In 1997, Ruben Gonzales portrayed Ojeda in Selena (1997), a Warner Bros. biographical film directed by Gregory Nava.[39] Ojeda, who joined The Chris Pérez Band as a keyboardist,[40] played a pivotal role in co-writing much of their debut album, Resurrection (1999). The album's lead single, "Best I Can", offered a poignant reflection on Pérez's life following Selena's death. Ojeda believed Selena would have supported Pérez's foray into rock, noting her unwavering encouragement of his passions.[37] Resurrection became the first rock album released under Hollywood Records, with USA Today naming The Chris Pérez Band among the top 10 acts poised for crossover success.[38] The album became a critically praised recording, and the group began opening for Maná.[41]

The track, "Best I Can", received promotion on mainstream rock and Top 40 radio, while "Por Que Te Fuiste?" was targeted at Latin and Tejano stations. Among Latino audiences, Pérez's name initially overshadowed the music itself. Conversely, in mainstream markets where his fame was less known, listeners focused on the music—a dynamic the band fully embraced, as it aligned with their artistic aspirations.[38] Ojeda wrote "Solo Tu" under a sentimental ballad but Pérez insisted on turning it into a rock song for the album.[42] Pérez introduced The Chris Pérez Band at the 1998 Tejano Music Awards. Their debut album, Resurrection was released in May 1999.[43]

In August 1999, The Chris Pérez Band participated in the month-long Watcha Tour, a traveling showcase of American and Latin American bands specializing in Rock en Español.[44] The writer from The Los Angeles Times described Ojeda as a pivotal force within the band, having co-written much of the album's tracks. While some critics dismissed the group as overly formulaic, the band defended their artistic choices, asserting that their pursuit of a classic rock sound was an intentional reflection of their identity as Mexican Americans from South Texas.[45] Writing for the Rolling Stone magazine, Ed Morales felt that Resurrection is anchored by Ojeda's "jazzy Tejano" vibes he infused in the album.[46] Resurrection won the Grammy Award for Best Latin Rock or Alternative Album at the 2000 Grammy Awards, following the group's performance at Woodstock '99, and headlining a tour with The John Popper Project.[47]

The group decided to take a hiatus between recording their second album, while Pérez helped A.B. with his Kumbia Kings band.[18] From September to December 2001, The Chris Pérez Band began recording their second studio album, Una Noche Mas (2002) under Q-Productions. The group decided to release a full-length Spanish-language Tejano album mixed with guitar-led cumbia and pop tracks. Their lead single, "Dime Por Qué Te Fuiste", was released in April 2002.[48] Ojeda also provided production and songwriting assistance for Q-Production artists Veronica Castro and Jennifer Peña.[49]

2003–2016: Break and return to music

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Ojeda took a break from music and decided to help his sister sell computer software and payment terminals, while also handling customer service for her business. Though he missed performing, he valued the time spent with his family.[18] Ojeda said he felt grateful to have witnessed his daughters grow up and been present in their lives during his hiatus—an experience he would have missed had he continued touring.[18] In 2004, he participated in a press conference for Selena ¡Vive! (2005), reuniting with Los Dinos.[50] In 2006, Ojeda joined the Latin alternative rock band Sonido Azul as their keyboardist for a single concert. The lineup included former Chris Perez Band vocalist John Garza, Adriel Ramirez, drummer-percussionist John Gomez, and David Galvan. The band was formed in response to Gomez's hope of improving the quality of life for his infant daughter, who had been diagnosed with Aicardi Syndrome.[51]

By 2010, Ojeda joined as a keyboardist for the rock en español band Ruido Añejo.[52] The group consisted of Astudillo, bassist Ramirez, guitar-producer Manuel "Meatt" Riojas, guitarist Ruben Rea, and drummer Frankie Diaz de Leon.[53] The group's debut album, Salvación, was released in 2013. It took influences from Guns N' Roses, Matchbox Twenty, Train, Bon Jovi, and the Chris Pérez Band.[53] The album featured a revamped version of "Como Te Extrano" as well as a 1980s power ballad rendition of "Como la Flor", and the ballad "Quiero Llorar". Ruido Añejo strategically decided to debut their softer material at the 2013 Tejano Music Awards as a means to appeal to the traditional audience. They were concerned that performing their hard rock songs might deter them.[53]

Ojeda reunited with A.B. for his mariachi recording "Nací para Sufrir" on his La Vida de un Genio (2010), providing keyboard assistance.[54] Ojeda and Astudillo performed at the 2015 Tejano Music Awards, the event held a tribute to Selena.[55]

2017–present: Pete Astudillo y Tekno-Mex, and solo career

[edit]

During the October 2017 annual Bootfest in Victoria, Texas, Astudillo introduced his new band, Pete Astudillo and Tekno-Mex.[56] The group consisted of Ojeda, Ricky Landeros, Juan Garza, Sonja de la Paz Garcia, and Diego Garcia.[4] Due to the COVID-19 pandemic, Tekno Mex canceled their March 2020 show at San Antonio's Aztec Theatre and indefinitely suspended touring.[57]

In December 2018, Netflix greenlit Selena: The Series (2020-21), a two-part limited drama series based on Selena's life. In March 2020, Carlos Alfredo Jr. was cast to portray Ojeda in the series.[58] Alfredo contacted Ojeda after he got the role.[59] Following the show's release, which explored the origins of Astudillo and Ojeda in the band, Angelica Perez of UWIRE, admitted she hadn't known about them until watching the show. She noted that her mother recognized them, having attended a Selena concert.[60] The series was executive produced by Suzette and written by Moisés Zamora.[61] Critics and fans felt that Selena: The Series sidelined its titular character, focusing instead on the patriarchs in the Quintanilla family.[61][62][63][64]

Ojeda expressed disappointment with how he was portrayed in the series,[21] though he was involved with the show,[1] arguing that the series failed to reflect his contributions to Selena's music. He claimed to have initiated or helped shape the melodies of several of her songs but was not credited accordingly in the show. One example he cited was "Baila Esta Cumbia", a track for which he received no formal recognition, despite his assertion—corroborated by Pérez—that he had helped craft its melody.[21] Although Ojeda described Abraham, who supported the series,[64] as a businessman, he noted that during his time with Los Dinos, Abraham treated him well and ensured he was "taken care of".[21]

After the series premiered, Ojeda decided to pursue a solo career and release his music.[65] In April 2020, Perez and Ojeda released "Just Say Goodbye", using the Chris Pérez Band name.[66] Ojeda released his debut solo single "Dueña de tu Cama" in collaboration with Victoria La Mala, Yorch, and Pérez. Jessica Roiz of Billboard called it an "edgy hip-hop-infused cumbia track" that blends traditional cumbia melodies with elements of urban pop and rock. The track follows the artists' collaboration on the corrido "Nuestra Tierra", featured on Victoria La Mala's Soy Mala (2021).[65] In March 2022, Ojeda released "Bombear La Sangre" with Victoria La Mala, Yorch, and Pérez.[67] Ojeda released "Maldito Castigo" featuring lead vocals by Lorena Gomez in October 2024, and announced his tribute band for Selena, Tributo A La Reina.[68] On New Year's Eve 2024, Ojeda's band Tributo A La Reina, headlined a tribute performance in Laredo, Texas, performing Selena songs to patrons.[69]

In 2024, Ojeda spoke about his plans to write a book about his life and career.[68]

Personal life

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Ojeda married Raquel in 1996.[1] His first daughter was born in 1998, and his younger daughter, Mia, assists with his social media accounts.[18] Ojeda has been diagonised with ADHD, and spoke out about never reading any music sheets.[1] Ojeda is a fan of the Dallas Cowboys,[1] and his musical influences are Los Angeles Azules, Ricky Martin, Maná, Los Intocables, Post Malone, and Bad Bunny.[65]

In March 2025, Ojeda visited and read to students at Christopher Macdonell Elementary School as part of the annual Family Reading Night for Read Across America Week. While at the event, Ojeda stressed the importance of putting children's needs first when it comes to education and literacy.[70]

References

[edit]
  1. ^ a b c d e f g h i j k l m n o Gomez 2025.
  2. ^ a b c Pérez 2012.
  3. ^ Patoski 1996, p. 90.
  4. ^ a b c d Anon. 2017.
  5. ^ a b c Carrizales 2024.
  6. ^ Soriano 2021.
  7. ^ a b c Salas 2020.
  8. ^ a b Cabrera 1992, p. 67.
  9. ^ Rodriguez 1995, p. 6G.
  10. ^ Patoski 1996, p. 79.
  11. ^ Bolaños 2020.
  12. ^ Beltrán López 2021.
  13. ^ a b Quintanilla 2002.
  14. ^ a b Quintanilla 1997.
  15. ^ Anon. 2008.
  16. ^ a b Caicedo 1989, p. 138.
  17. ^ Patoski 1996, p. 82.
  18. ^ a b c d e f g h James 2025.
  19. ^ Quintanilla 1990.
  20. ^ Anon. 2017b.
  21. ^ a b c d e Claudio & Gomez 2021.
  22. ^ Pérez 2012, p. 43.
  23. ^ Quintanilla 2002a.
  24. ^ Cobo 2002, p. 26.
  25. ^ Lannert, Bronson & Mayfield 1995, pp. 72, 80, 82.
  26. ^ a b Stavans & Augenbraum 2005, p. 91.
  27. ^ Burr 1999, p. 189.
  28. ^ Anon. n.d.a.
  29. ^ Anon. n.d.b.
  30. ^ Estevez 2017.
  31. ^ Novas 1995, p. 63.
  32. ^ Richmond 1995, p. 48.
  33. ^ Carlos 2016.
  34. ^ Verhovek 1995, p. 1.
  35. ^ Cabrera 1996, p. 47.
  36. ^ Maldonado 1996, p. 9.
  37. ^ a b Valdes-Rodriguez 1999, p. H1.
  38. ^ a b c d Riemenschneider 1999, p. 10.
  39. ^ Rivera 1997, p. 8.
  40. ^ Burr 1999, p. 11.
  41. ^ Ross 1999, p. 29.
  42. ^ Pérez 2012, p. 284.
  43. ^ Valdes-Rodriguez 1999a, p. H1.
  44. ^ Armstrong 1999, p. 34E.
  45. ^ Valdes-Rodriguez 1999b, p. 356.
  46. ^ Morales 1999, p. 71.
  47. ^ Ross 2000, p. 62.
  48. ^ Burr 2002, p. 1D.
  49. ^ Guerra 2021.
  50. ^ Corpus 2004, p. 2.
  51. ^ Hinojosa 2006, p. 37.
  52. ^ Colloff 2010, p. 86.
  53. ^ a b c Saldana 2013.
  54. ^ Anon. 2010, p. 3.
  55. ^ Medina 2015.
  56. ^ Perez 2017b, p. D1.
  57. ^ Carrizales 2020.
  58. ^ Gomez 2020, p. V10.
  59. ^ Villa 2021.
  60. ^ Perez 2020, p. 1.
  61. ^ a b Ali 2020.
  62. ^ Berman 2020.
  63. ^ Cordero 2020.
  64. ^ a b Hanrahan 2020.
  65. ^ a b c Roiz 2021.
  66. ^ Rindner 2020.
  67. ^ Hernandez 2022.
  68. ^ a b Medina 2024.
  69. ^ Anon. 2024.
  70. ^ Ruiz 2025.

Works cited

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