About Tommy

Tommy Thomsen’s life is a rich tapestry of music, history, and resilience. Born in Sonoma, California, his early years were steeped in musical influence from his family, leading to a lifelong passion for music. As a teenager, he purchased his first guitar and embraced the blues, influenced by legendary musicians. His Danish heritage played a significant role in his upbringing, interwoven with adventurous childhood memories in Sonoma’s vibrant community. Tommy’s journey through the Haight-Ashbury music scene, his remarkable career as a musician, and his collaborations with notable artists like Norton Buffalo and Sammy Hagar showcase his versatility and dedication to his craft.

Throughout his career, Thomsen navigated significant challenges, including legal troubles, health issues, and more. Despite his setbacks, he continuously evolved his unique style, blending blues, jazz, and Western swing, even creating original compositions that capture his spirited essence. Honored with multiple accolades, Thomsen remains an influential figure in Western swing, persevering through health struggles and revitalizing historic venues like the Church of Western Swing in Texas, ensuring that the rich tradition of this genre lives on for future generations.

Early Years

Tommy Thomsen was born on January 14, 1948, in a house his family owned off the Sonoma Plaza. His mother was a Boogie-Woogie piano player known as “Big Red”. By the age of seven, he was already taking piano lessons, studying the classics, and working his way up to a recital of Franz Liszt’s “Hungarian Rhapsody”. His mother was a piano player from a musical family that included Uncle Pete, a milkman who sang opera on his rounds. Her collection of Big Band 78 rpm records sparked Tommy’s interest in popular music, and she taught him some mean boogie-woogie piano.

In ninth grade at Sonoma Valley High School, Thomsen bought his first guitar with money be saved working at the Benedetti Turkey Ranch. he purchased an electric guitar from Ruggles Music Store, recalling with a laugh, “I paid $70 for a $35 guitar.” Playing without an amp, he practiced late into the night in his bedroom, emulating the blues style of Freddy King, “The Texas Cannonball,” and Jimmy Reed, whose playing influenced a string of musicians from Eric Clapton to Stevie Ray Vaughan.

Tommy’s first band was the Headsmen. Don Martini on drums and Tommy on guitar were the originators of the band. Rod Smith played sax, (Tommy had taken piano lessons for 6 years from Rods Mom ,Donna), John Hedley rhythm guitar, Jim Boyle, and Codany Holiday vocals.

They played all the high school dances after football and basketball games and were very busy playing most weekends from 1963-1966. Their repertoire included Jimmy Reed, Freddy King, Chuck Berry, Rolling Stones, and other blues greats. They did not play surf music or Beatles songs but strictly stuck to the blues…It was the Best band in town at the time.

They were all good friends, rehearsing in the garage of Don’s house. His memories are endless and he still keeps in touch with Codany Holiday, the best musician in the group.

“Codany knew what real showmanship was and he taught us well, dressing in matching outfits, doing steps on stage … We were the ONLY band to have a black singer in an all white band in the 60s. There are many stories of trouble on the road in those days. However Hudson Auberlin was our manager and took care of any disturbances we ran into.”

Tommy’s Danish heritage was a significant part of his upbringing. His grandparents, Bestafar and Bestemor, immigrated to America in the early 1900’s and settled on a chicken ranch in Sonoma. Bestafar, a sailor and Danish Merchant Marine, even experienced the 1906 San Francisco earthquake. The Thomsen family was well known in Sonoma, with Aunt Lois running Lois’s Dress Shop and his grandmother, Peggy, owning Tots and Teens, a children’s clothing store. On his father’s side, the family operated Sonoma Distributors, selling Falstaff, Pabst, and Berge beer and soda.

Tommy’s early years were filled with the freedom of exploring Sonoma. He fondly remembers the smell of the feed store across the street from their first home behind the Union Hotel, playing with baby chicks, and riding his first bicycle. His childhood was marked by adventures, like riding his tricycle at age 4, down Broadway with his dog, only to be brought back home by the police chief, who said, “Is this your kid?” The Sonoma Town Square was a vibrant hub for young Tommy, with memorable spots like Eraldi’s Men’s Store, Nick Nicolini’s Hardware shop, Handel’s Record Shop, and Ruggles Music. He recalls standing on his toes to see General Hap Arnold’s collection of model World War II planes in glass cases at City Hall. The Mission Solano de Sonoma, the last of the California missions, and the site where the first Bear Flag was raised, were integral to his understanding of local history. Tommy’s childhood was also filled with sports, playing baseball, basketball, and football, with his dad coaching the Little League team. Known as Spaghetti Arms or Beanball Thomsen, he was a pitcher in Little League. His involvement in the Cub Scouts and Boy Scouts taught him values like courtesy, kindness, and honesty. Fishing trips with his grandfather on his boat “Amorita”, or “Little Love”, were cherished memories, as were the times he spent with his family. Moving to Pueblo Road at age seven Tommy’s musical journey continued with piano lessons from his best friend’s mom, Donna Smith and playing boogie-woogie like his mother by age 11 or 12. His musical talents shone in recitals, culminating in a performance of Liszt’s “Hungarian Rhapsody” in eighth grade. Tommy performed with his band “The Headsmen” all through his high school years.

Early Career

After graduating from high school in 1966, Tommy Thomsen moved to San Francisco, immersing himself in the vibrant Haight-Ashbury music scene. He jammed and played clubs, rubbing shoulders with members of Big Brother and the Holding Co. and other early SF bands. By 1967, Thomsen had joined the Sailor’s Union of the Pacific, working on ships that docked in exotic ports. He sailed for over 35 years. His guitar was always with him, serving as a calling card to play for locals or join bands wherever he went. He has made friendships all over the world including Japan, Philippines, France, and Italy. Throughout his career, Thomsen developed his unique style of blues and jazz tinged Western swing music. He effortlessly transitions from pounding boogie-woogie on the piano to silky crooning with a voice reminiscent of Bob Wills and His Texas Playboys’ singer, Tommy Duncan. Thomsen’s renditions of Wills’ songs like “San Antonio Rose” and “Deep Water” evoke a nostalgic landscape of railroad boxcars and honky-tonks,filled with heartache and longing. Thomsen embraced Western swing almost 50 years ago after seeing The Texas Playboys perform in Texas in 1976. Describing his music as a “gumbo of American styles,” Tommy considers himself a stylist of old, unique, and semi-lost songs. He even ventured into recording an album of Hawaiian slack key music and has written catchy originals in a genre he calls “Western Jazz." One of his original numbers, “I’d Rather Be High In The Saddle Than Biting this Dust On The Ground”, captures his resilient spirit, likening himself to a “crazy rodeo clown” who laughs through the hardships.

Experience with Norton Buffalo

Tommy first met Norton Buffalo through John Casey in 1979. Casey, a dobro player was performing with Norton. John had told Tommy, “You’ve got to meet this little guy who just moved up here. He’s really good.” Eager to meet him, Tommy discovered that Norton was living on Harrington Avenue in Sonoma, not far from his place. After knocking on Norton’s door, they hit it off immediately and started playing music together right away. Norton loved playing music, and they jammed on bluegrass, blues, and old country tunes.

They even ended up recording a CD together. Norton had a gig guiding whitewater cruises down the Grand Canyon for several years, but one year he couldn’t make it because he was on the road with Steve Miller. He asked Tommy to fill in for him. Tommy agreed, and they recorded some tracks in Norton’s living room on a four-track recorder to send to the cruise organizers. In just a few hours, they laid down about ten tracks, including campfire classics like “San Francisco Bay Blues” and “Tumbling Tumbleweeds”.

Norton later added his harmonica magic, layering multiple harmonica parts and harmonizing with Tommy’s vocals. It was a fantastic piece of work, and they released it as an album about 20 years ago. Norton and Tommy were more than just musical collaborators; they were like brothers. When Norton was away, Tommy would look after his kids, and Norton did the same for Tommy’s. Norton was one of the first to visit Tommy when he got his liver transplant and played a big part in raising funds through benefit concerts.

They had several benefit shows, including one with Roy Rogers and another with Dave Matthews’ keyboardist. Norton and Tommy shared many memorable moments, like performing at the Sonoma Rodeo with Slim Pickens. Norton’s harmonica playing on “Orange Blossom Special” was unforgettable, and they even got a backstage photo with Slim, where none of them had a gray hair yet!

Norton’s most famous performance might be the one with Bonnie Raitt on “Runaway”, where he keeps switching harmonicas. Each one was a different key, showcasing his incredible talent. Norton was a true friend and an amazing musician who left a lasting impact on Tommy’s life and career.

Friendship with Sammy Hagar

Tommy first met Sammy Hagar while living at 927 Haight Street, known as the Big Brother House. He received a call from his friend Barney Fernandez, who was working for Ted Reich. Ted, a former head salesman for Levi Strauss, had bought the Sonoma Hotel and owned an apartment house at the corner of Oak and Ashbury in San Francisco, managed by Don Pruitt, a drummer who became a friend to all of them. Barney told Tommy about a great guy who had just moved up from LA and was playing at Fisherman’s Wharf with a band called the Justice Brothers. Tommy went down to meet Sammy, who was living on Page Street. He had a Volkswagen bus with four bald tires, (typical musician style), and a bass player sleeping on the couch. Sammy’s son, Aaron was probably around 8 or 9 years old at the time.

Tommy was in the Merchant Marines then, and Sammy was determined to be a rock star. Without a contract or much going on, Sammy had a small gig in Fisherman’s Wharf with his band “The Justice Brothers”. At that time, Tommy and Sammy played together at Nancy and Gary Bengeurel’s wedding at the Kenwood Depot with members of The Justice Brothers, where Sammy was on guitar and singing; Dave Arney on bass, and Tommy playing guitar and singing.

Eventually, they went their separate ways. Tommy got into country music and bluegrass, while Sammy pursued hard rock. Sammy, always a go-getter, came from a very poor background with no money at all. He has worked tirelessly, and today, he’s worth a couple hundred million and has his name on the Hollywood Walk of Fame. But back then, he had nothing but talent and determination. His ambitions have paid off. Sammy joined Ronnie Montrose and went to Europe, eventually forming his own band and getting his first contract with Capitol Records. Barney Fernandez and Tommy were invited to the show, and they were backstage at the parties. Norton Buffalo, who had just signed with Capitol, saw them and was surprised to see them there, as they were all pals with Sammy. Sammy’s first big purchase was an expensive car and a place in Mill Valley. Although they parted ways for a number of years, Tommy has always looked forward to keeping in touch. Sammy’s journey from rags to riches is truly inspiring, and Tommy is proud to be his friend and to have been a part of his early days.

One day, Tommy was up in Reno after the ABC Reno band had folded. He was working with some other musicians at the Sirloin Steakhouse on South Virginia Street. Sammy Hagar had just sold out the Reno Coliseum, and Tommy was living in Virginia City at the time. Out of the blue, his phone rang, and it was Sammy. Sammy said, “Hey man, what are you doing? It’s Sammy.” He told Tommy he had tickets, backstage passes, the whole deal, and invited him to come down.

Tommy told him he’d love to, but he was working that night. Sammy paused and asked, “Where are you working?” Tommy replied, “I’m working about four blocks north of you at the Sirloin Steak House.” Sammy responded, “I’ll be there.” So, Tommy went in that night and told all the waitresses to put on their lipstick because Sammy Hagar was coming. They were skeptical, but sure enough, around 2:00 in the morning, Sammy and his wife Betsy, who was a folk singer, showed up.

There were only about six people in the whole club at that hour. Sammy and Betsy sat at a table directly across from Tommy, and he played a nice 30 minute set for them. Afterward, Tommy asked Sammy if he wanted to sing, but Sammy said, “He was good”. They said their goodbyes, and that was the last time Tommy actually saw Sammy Hagar.

Tommy always follows Sammy’s career and is sure their paths will cross again. Sammy’s not the kind of guy who forgets his friends. He’s approachable and talks to everyone. He even has a great Wikipedia page, and Tommy, now working on his page, thinks linking to Sammy’s will be fantastic. Sammy’s journey from those early days to becoming a rock legend is truly inspiring.

Relationship with Lacy J Dalton

Tommy Thomsen first met Lacy J Dalton when she was living in Santa Cruz. They were playing at a club there, and Tommy was the lead guitarist for Larry Hosford, a renowned singer-songwriter known for hits like “Salinas” and “King Takes a Queen”. Tommy played with Larry for about a year and a half, and during that time, they had the chance to rehearse in Lacy J’s garage.

They set up their gear and started jamming, and Lacy, whose real name is Jill, came in to say hi. This was before she moved to Nashville and wrote her famous song about Music Row, (“16th Avenue”). Santa Cruz was buzzing with creative songwriting energy back then. Their steel guitar player, Ernie Hagar, also lived in Santa Cruz, adding to the vibrant music scene. Tommy played with Ernie in the band ABC Reno for a year or so.

Later, Lacy moved to Nevada, near Virginia City. Tommy used to visit her for breakfast and hang out with Travis T. Hip, a KSAN radio newscaster and friend. She had a cousin named Steven Taylor, an artist living in Dayton, and they once had dinner at his place. Lacy had a studio in her house and always had a couple of musicians playing with her. She saw Tommy when she played at the Redwood Cafe a few years ago. Lacy J Dalton has always been a fantastic singer-songwriter and a unique artist. Her song “16th Avenue” is simply amazing. It was always a pleasure for Tommy to see her, meet with her, and hang out. She’s an incredible artist and a wonderful friend.

Intro to Western Swing

In the annals of Western Swing, few stories resonate as deeply as the journey of a young guitarist discovering his passion. At the tender age of 14, Tommy stumbled upon Leon McAuliffe’s “Steel Guitar Rag”, a moment that would forever change his musical trajectory. It was a chilly morning in 1962, at his grandparents’ house, where he sat atop a heater, guitar in hand, and the notes of “Steel Guitar Rag” seemingly materialized from thin air.

His musical roots were steeped in the rich sounds of big band music, courtesy of his mother, a fervent aficionado who once met the legendary Duke Ellington. Her boogie-woogie piano sessions, under the nickname “Big Red”, filled their home with rhythm, inspiring him to dance and eventually take up the piano himself at the age of seven.

Boogie-woogie became a staple in his repertoire, seamlessly blending with the big band influences that would later define his Western swing style. Graduating from Sonoma High in 1966, he formed the bluegrass band Sonoma County Line, playing at Paul’s Saloon in San Francisco. The band featured notable musicians like Norton Buffalo and the Kindler brothers, George and Steve, who brought their own unique flair to the group’s Western swing performances.

The mid-70s saw him embark on a pilgrimage to Texas, where he attended Rod Kennedy’s Quiet Valley Ranch in Kerrville. This trip was a turning point, as he exchanged his tickets for Willie Nelson’s 4th of July picnic to witness the Texas Playboys, Ernest Tubb, Hank Snow, and other legends. The event, marked by a six foot high American flag cake and sesquicentennial celebration, was a four-day musical odyssey that solidified Tommy’s love for Western Swing.

Sleeping in a makeshift hippie nest in a new Ford Country Squire station wagon, he and Carolyn Valerga embraced the spirit of the times, ready to soak in every note and rhythm. This journey, filled with iconic encounters and musical revelations, is a testament to the enduring allure of Western Swing and the indelible mark it leaves on those who embrace its rich, melodic heritage.

As the rain began to fall, it seemed to only amplify the energy of the crowd. The Texas Playboys were on stage, and the scene in front of them was nothing short of electrifying. Women danced in the mud, their enthusiasm undeterred by the weather, reminiscent of the fervor seen at an Elvis concert. It was a sight to behold, with real groupies swarming the stage. Singer Leon Rausch was killing it!

Seated about five tables back, under a tarp with Carolyn, Tommy had his recorder ready. He captured the entire 1976 concert. He also managed to snap photos, and purchase Dr. Charles Townsend’s book on the history of Western swing, which many of the Texas Playboys graciously signed. This was his first live encounter with the Texas Playboys, and he was instantly captivated by Leon Rausch’s singing. This experience ignited a lifelong passion for Western Swing, leading him to play the genre exclusively for many years, especially in Texas, the birthplace of Western Swing.

Since 1976, Tommy made regular pilgrimages to Turkey, Texas, for the annual Bob Wills celebration. This event, in the past, organized by the Bob Wills Foundation, transformed the small town of 300 into a bustling hub of 5,000 attendees. The celebration featured parades, children’s fiddle contests, concerts by the Texas Playboys, and even tractor and lawnmower races, all centered around Western Swing. The town’s single hotel, often reserved for the Texas Playboys, became legendary for its rowdy guests.

********************************************

About 25 years ago, Henry Baker and Bob Baker, (no relation), who used to do sound for the Texas Playboys, purchased an old church in Turkey in disrepair for $5,000. They transformed it into the Church of Western Swing, hosting jam sessions and dances. This venue became a gathering place for the Texas Playboys and other musicians, including Joe Settlemires, Larry Reed, Joe “Little” Mars, and Jimmy Burson.

The Church of Western Swing, now a highlight of the community, continues to attract a fantastic array of musicians each year, all volunteering their time to keep the spirit of Western Swing alive. Seven years ago, after the passing of Henry, the Church of Western Swing found a new steward. With no one stepping up to buy, Tommy made an offer which was accepted by Doris, Henry’s widow. The vision was clear: to remodel and restore the Church of Western Swing. A 501c3 nonprofit was established, complete with a board of directors, an attorney, and a partnership with Happy State Bank, ensuring everything was above board.

The 501c3 nonprofit, now seven years strong, recently produced a documentary film, set to be released this year, aiming to boost recognition of the church. In a nod to its cultural significance, the governor of Texas declared Western Swing the official music of the state opening doors for grant opportunities. With $150,000 of personal funds already invested, the project is on the way to its envisioned glory, seeking further grants and donations to reach its full potential.

The dream is to broadcast and record Western swing music year-round from the church, welcoming musicians with a dozen RV hookups and fostering a communal atmosphere where bands cook and dine together, enhancing their musical synergy. The stage often hosts up to four fiddlers, alongside saxophones, jazz piano, steel guitar, bass, drums, and occasionally a clarinet. Guest singers frequently join, drawn by the church’s unique vibe and commitment to honest, traditional Western Swing music, perfect for dancing.

An extension to the building now serves as a fellowship room, where meals are shared, and a living room area allows for socializing while still enjoying the music. Decorated in American flag tradition, the space offers a unique experience for all who visit. As the eighth year approaches, the Church continues to celebrate Western Swing, encouraging authentic performances that come straight from the heart. Unlike country music solos, Western Swing solos, with their jazz influences offer a personal expressive freedom. Bob Wills himself demanded 110% from his musicians, aiming to leave audiences in awe of their skill. This spirit of impressive, expressive soloing, rooted in jazz and blues, remains at the heart of Western Swing, a genre built on dance music with a unifying beat, layered like a musical cake.

Bob Wills

Bob Wills always had a keen sense for the perfect dance beat, meticulously considering whether a song needed to be faster or slower to keep the dancers engaged. His approach was all about the audience, ensuring they were pleased and never turning his back on them. Bob’s dedication often saw him playing for three and a half hours straight, especially in rough venues where the music kept the peace. The moment the music stopped, fights would break out, and tragically, at one of his dances, a man was even stabbed to death.

Many might not know that Bob had once considered a career in ministry, studying it seriously and contemplating speaking tours. This background lent him an aura of charisma and authority. When Bob took the stage, he commanded attention, and his presence was magnetic. After the aforementioned incident, he scolded the audience, expressing his disappointment and emphasizing that his dances were family events, meant for everyone from babies to grandparents. Western Swing, according to Bob, was the most familial of all music genres. The wives would be at the door, organizing cakewalks and handling the finances, while the men, the “roosters”, performed on stage. This sense of community and family was integral to the music’s appeal.

Bob’s passion for Western Swing was infectious, and his performances were a testament to his belief in the genre’s power to bring people together. His solos, influenced by jazz, allowed for personal expression and freedom, setting Western Swing apart from other genres. Bob Wills wanted his musicians to give their all, aiming to leave the audience in awe with their skill. This dedication to impressive soloing remains at the heart of Western Swing.

********************************************

Years ago, a trip to Elko, NV, in January for the Cowboy Poetry Festival, became an unforgettable experience for Tommy. The Texas Playboys were performing, and although Bob Wills had passed away, the spirit of Western Swing was alive and well. It was the late ‘70s, and Frankie McWhorter was leading the band, with Leon Rausch on vocals. Frankie’s son played sax, and the rest of the Playboys, including Bobby Koefer on steel guitar, delivered a stellar performance.

For three hours straight, the band played, and Leon Rausch, at 75 years old, showcased remarkable stamina. His voice, a beautiful, resonant low tenor, was nothing short of angelic. Often referred to as the Frank Sinatra of Western Swing, Leon’s singing and phrasing were masterful, transforming music into a verbal language that conveyed deep emotion.

His performance solidified Leon Rausch’s place in Western Swing history, his crooning style and emotional delivery set a high bar for the genre. His ability to interpret and express emotion through music made him a standout, and his influence continues to resonate with fans and musicians to this day.

“The best compliment I ever got”, says Tommy, “was from the late Barbara Martin, of the Western Swing Journal.” “She said, ‘There’s a direct line going from Tommy Duncan through Leon Rausch pointing directly to Tommy Thomsen.”’

Health Issues

Years of hard living eventually caught up with Tommy. He vividly recalls his last cocktail on October 28, 1988 at the Swiss Hotel, marking the night he hit rock bottom. “I was buying rounds for the house and running down to the corner to smoke pot in between”, he reminisces. “I totaled my car going back to the ship, creating a new gate into the Unocal refinery.” He laughs, “As luck would have it, the first car that came by was the police, and I ended up in the Martinez jail.” This incident led him to rehab, a turning point in his life. Despite his humorous storytelling, Thomsen admits, “my life wasn’t funny by the time I quit. It was quit or die.” His liver was failing, a consequence of Hepatitis C and his teenage methamphetamine use.

In 1997, Norton Buffalo organized a charity benefit in Sonoma, drawing 500 people to support Thomsen’s medical expenses as he awaited a liver transplant. “He’s got that kind of personality that brings people together when he gets up onstage”, Buffalo remarked. Thomsen received his new liver in 1998, but soon after cancer developed, sidelining him during treatment. Although he hasn’t had a drink in 37 years, Thomsen uses medical marijuana daily, “like Willie (Nelson)”, to maintain his attitude and avoid other drugs, despite knowing recovery groups may frown upon it. With cancer now in remission, Thomsen feels like he’s back in the saddle, ready to embrace life and music once again.

Recent Activity

In recent years Thomsen has stayed closer to home. While recovering from the second of two life-threatening illnesses, his appearances have been limited to festivals in the Sonoma and Healdsburg plazas and a few pub dates. Now 77 and with liver cancer in remission, he has ambitious plans for the next phase that include more gigs and more albums.

Tommy recorded a CD on Red Newt Records titled “Crazy ‘bout Her Gravy”, named for an original composition, which was recorded in Portland with Gregg Williams, a sound engineer and drummer for Sheryl Crow. Thomsen also is excited about projects he’s got in the works, including an album that draws on music played at the Dream Bowl, a historic Napa-Vallejo area Quonset hut club where many stars of country music, like Merle, Waylon, George, and Bob Wills himself, came to play in the 1940s and 1950s.

Thomsen considers himself fortunate to have survived his health problems, “with all the different and difficult challenges- lucky enough to get through all of that and still be up and running.” “I feel like the window is still open to me to do creative things”, he said.

“I’m sounding good, feeling good, and getting ready to book the new year.” His liver transplant is now 25 years old.

Tommy has a radio show called Swingin’ Out West on 91.3 FM KSVY 2PM-3PM Pacific time, playing Western Swing, Western Jazz and Classic Country. His shows are archived at KSVY.org for listeners.

The Church of Western Swing: A Revival in Turkey, Texas

In the small town of Turkey, Texas, an old church built in 1924 has become a beacon for Western Swing enthusiasts. Discovered by Jesse, the son of Bob and Annie Baker, this historic building was transformed into a vibrant music venue. Tragically, Jesse was killed in an automobile accident shortly after his discovery, but his legacy lives on. With a donation of a couple thousand dollars, the pews were removed, movie seating installed, and a dance floor was built where the preacher once stood. The stage was set for countless performances, and the church was always packed.

In 2017, Henry, a key figure in the church’s revival, passed away from a heart attack. About a year later, Tommy and his partner Freya took their motorhome down to Turkey for a benefit concert to raise money for Henry’s tombstone. Doris, Henry’s widow, had considered selling the church, but it wasn’t officially up for sale. In 2018, Tommy saw an opportunity to preserve this cultural landmark. The church included two city lots and the building with its contents, which held significant historical value to Western Swing, such as posters, flyers, and pictures of the past stars of Western Swing. With the building’s title in his name, Tommy started a 501c3 nonprofit foundation to sponsor the church. He established a relationship with the local Happy State Bank in Silverton and secured an IRS number for his nonprofit. Now, Tommy is preparing to relaunch his funding efforts to support the church’s ongoing mission.

The church has become the spiritual center of Western Swing, it is filled from dusk to dawn during Bob Wills Week with dedicated musicians and ecstatic dancers, thanks to Tommy’s perseverance. Despite being relatively unknown in Texas, Tommy’s efforts have ensured that this historic venue continues to thrive, keeping the spirit of Western Swing alive for future generations.

Awards and Reputation

Thirty years ago, in a ceremony in 1995, attended by former Texas Playboys and other musical stalwarts, Thomsen was inducted into the Western Swing Society Hall of Fame in Sacramento. He subsequently received awards from similar organizations in Tulsa, Seattle, and Texas. Overseas audiences also appreciate his slice of Americana and still book him. But, one of his greatest thrills, he said, has been playing in Oklahoma and Texas and “having people go ,’Holy Sh**! Who are you? Where you from? How do you know these songs?’” Thomsen spins seemingly endless stories of past road trips and of clubs that have been lost to fire or changing times, including Mama’s Royal Café, The Rustic Inn, Paul’s Saloon, and many gigs in Europe as well as Japan, Singapore, and Hong Kong.

Hall of Fame Awards

• 1995 Sacramento Western Swing Society Hall of Fame

• 2007 Western Swing Music Society of the Southwest Hall of Fame

• 2008 Seattle Pioneers of Western Swing Hall of Fame

• 2012 California Country Music Hall of Honor, Sacramento, California

• 2018 Cowtown Society of Western Swing Hall of Fame, Ft. Worth, Texas

• 2019 Sonoma Valley High School Hall of Fame - for Musical Achievement

• 2019 Academy of Western Artists

• 2019 Will Rogers Award for Best Group

Discography

Album Title - Date - Label

1. Western Jazz - 2001 - Pueblo

2. A Tribute to Wills Point - 2002 - Pueblo

3. Me and The Buffalo - 2002 - Pueblo

4. Live In Sonoma - 2006 - Pueblo

5. Thinking of You - 2008 - Pueblo

6. Crazy ‘bout Her Gravy - 2015 - Red Newt Records

7. Timeless Treasures for a Living Legend - A Tribute to Leon Rausch - 2019 - C.O.W.S. Records

8. Frank Sinatra Meets Bob Wills at the Church of Western Swing - 2020 - Pueblo

References

1. Mason, Clark, Western Swing Hall of Famer Tommy Thomsen of Sonoma is back in the saddle, The Press Democrat, Dec 11, 2015

2. Webber, George, Tommy Thomsen wouldn’t change a note, Sonoma Valley Sun, Oct 16, 2023

3. Curley, Tim, Tommy Thomsen brings some swing to Sebastiani Theatre, Sonoma Index-Tribune, Jan 1, 2025

4. Pepito, Joy, MARVELOUS MUSICIAN | Tommy Thomsen, Sonoma Sun, Jan 4, 2025

5. Soper Reese Theater: This site features information about Tommy’s performances and collaborations, including his work with Wendy DeWitt.

6. North Bay Live Music: Lists Tommy’s upcoming and past performances in Sonoma and Marin counties

7. GigSalad: Provides details about Tommy’s accolades and availability for performances.