From my new article in Our Sunday Visitor about Sam Rocha and his new album, Late to Love:
[Rocha] experienced his first high liturgy at St. Joseph’s Cathedral in downtown Columbus, Ohio, and a whole new aesthetic world opened up. “I felt like I walked out of the folk tradition and walked into a marble hall,” he said. “It helped me process the idea that there is a bigger Church out there.”
But stark aesthetic contrasts can sometimes be deceptive. “Whenever I heard a High Mass,” Rocha said, “I would say, ‘No more guitars at Mass for me!’” But then his family moved to a tiny town in Indiana, where the Mass had no music at all. “It was so sad and little,” Rocha said. So he brought in his guitar, and returned once again to his Mexican roots.
Since then, he’s been trying to reconcile all his various aesthetic experiences of the Church — the folk music of his Mexican parents, the slicker sound of Life Teen and the charismatic movement, and his hard-won love of jazz, which he deliberately cultivated out of a desire to understand as much about music as he could.