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was a comedy, so no singing involved. So it was just the acting and it was really good.

Yeah, it was really good. You know, we have a good crowd coming, yeah.

BiTS: That sounds to me as though movies might be on the horizon.

ER: [Laughs] I hope so. Well, I did a short film last year. It was a small appearance

as a mermaid who played saxophone. The name is Ocean Child and so that was my
first step into the movie scene, but of course, I'm waiting for more.

BiTS: I notice on your e-mail address, it has the word “jazz”. Do you consider yourself

to be a jazz musician?

ER: No.

BiTS: Why is that?

ER: No, not necessarily. Well, you want the true story? I was trying to use ‘Evelyn
blues’, but it was taken already, you know? And then it's like, okay, well, let's do jazz,
you know? And that's the one that was available, and so I love jazz. Definitely, yes, I

do, but I wouldn’t say that I'm a main jazz player. I can do it. I can be around there,
but it's not my main music. I'm more like a

yeah, bluesy. You know, R&B, rock, and like I
said, I can travel into the jazz, but I wouldn't
say that that's my first thing.

BiTS: Tell me about how you met Calvin
Owens.

ER: Okay, well, when I came to the United

States one of the first people that I met was Al
Staehely. Al Staehely, he has two things. He's
a music attorney, which is very good to have
[chuckles], a good music attorney as a friend

and plus he used to be part of the band Spirit
that was big around the 60s, 70s and so he's

a rock and roll guy too. So he knows
everybody, so when we talk because I
mentioned that I just love blues and I would
love to be able to play blues somewhere, you know? He's the one who introduced me

to Calvin Owens because Calvin was one of his clients.

Calvin used to have his blues orchestra here in Houston and I just wanted to have

the chance to play sometimes because I didn't know anybody. And so I had an audition
with him, and he asked me, can you do these songs in Spanish? And I said yes, I can.
So anyway, he said, go do it and then when you’ve got it ready, come back. So I did it,

and I went to Mexico, you know, do the track with one musician friend up there and
then I started to work on the translation. I recorded everything, and I sent it back to
him. It was like two weeks. I didn't hear a thing. Anyway, long story short, he called