0:00

Support for this podcast and the

0:03

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quick warning, this episode contains explicit

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language. I'm

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just stating for the record,

0:25

everyone, you might hear some little birdies. Why

0:27

would we hear little birdies? Where are

0:29

you? I am...um...I'm on the

0:31

road, Felix. I'm

0:34

on the road again. We're

0:36

gonna change your name to Carmen Sandiego. I've

0:38

had quite the nutty morning, Felix. My

0:41

flight was delayed like nine hours. We

0:44

were in Austin together. You left.

0:46

I stayed for whatever reason. And

0:49

they just casually delayed my flight nine hours. So

0:51

here I am on this weird

0:54

bench outside with my

0:56

swimsuit drying and my coffee. At least I

0:58

have coffee. And I went swimming this morning,

1:00

Felix, and I have so much chlorine

1:03

in my eyes, I can't even see. So

1:06

much drama to start the show. So

1:10

much drama. I think it's finally time

1:12

we let everyone know how chaotic my life is.

1:14

I think it's important that people are fully informed.

1:17

Yeah, somebody's gotta know because it becomes

1:19

a burden and it'd be nice to share that burden with other people.

1:23

The good news is, with

1:25

great chaos comes great music

1:27

listening opportunities. My

1:30

segway! From

1:33

NPR Music, this is Latino, I'm

1:35

Felix Contreras. And I'm Ana

1:37

Maria Sayer. Let the chiswe begin.

1:40

And let the new music begin because that's what we're

1:42

doing. New music today. You're

1:44

out on the road. I'm here in Washington, D.C.

1:46

but that doesn't stop us from presenting new music.

1:50

And I gotta say, we are coming

1:52

at this this week from completely different

1:54

directions. Our choices could

1:56

not be more different. I will say, I listen

1:58

to your pics and I was like, oh. this is gonna

2:00

be whiplash for people.

2:03

But that's okay. That's the

2:05

goal. To confuse disorient, excite. I

2:07

would rather look at it as reflecting

2:10

the entire variety of

2:13

Latino music expression. That's how I look at it.

2:15

I just, yep, what

2:17

Felix said. Okay. You

2:20

go ahead and start because I really like this

2:22

track. You're letting me go first this time? Yeah,

2:25

I like it. Okay, well this is

2:27

very exciting then. So this is from a

2:29

band called The Lara Project. I've been a

2:31

big fan of these guys for a while.

2:34

They're a brother duo from Venezuela. This is

2:36

the track, Extranos, off of their new album,

2:38

Sobre Napo. Yeah,

2:46

they really stand out because the song

2:48

features auto too as a lead vocal. Right?

2:51

Mm-hmm. And

3:24

what it means that more and more, you

3:26

know, we're seeing people play with it in

3:29

these very artistic ways. And

3:31

they did this a lot on this

3:33

record. And I will admit, on every

3:35

song, I'm not in love with it.

3:37

But on this song in particular, the

3:39

way that they paired it with these

3:41

really cinematic, beautiful strings, like to me,

3:43

it came together and it was like

3:45

this perfect marriage of like

3:48

something that's really artistically tastefully contemporary.

3:50

It's electronic and it's acoustic but it's

3:53

very seamless. Like it almost has a little bit of

3:55

this 2000s pop feel to

3:57

it at certain moments, but then

3:59

really like... grandiose and eccentric. I really

4:01

love the way it came together here. I

4:04

remember hearing autotune used in Cher's songs,

4:06

The Leave, back in 1998 when I

4:08

lived in Miami and I'd go

4:10

to breakfast on Miami Beach and all the

4:12

party people, which is coming home from

4:15

the club and walking around with boomboxes.

4:17

And you could hear that autotune all

4:19

over the place. I think she was

4:21

one of the first artists to popularize

4:23

that and use it as a lead

4:25

instrument. It's gotten so much criticism over

4:27

the years as a crutch, but

4:30

in this case it's actually a tool in

4:32

the tool belt. I

4:34

gotta say I like it man. I

4:36

do love that. The autotune concept is

4:38

really fun to me because people love

4:40

to be like autotune police about things.

4:42

They're like, oh, I hear autotune.

4:44

I'm like, if you hear it, they probably meant free to

4:46

hear it. Exactly. They're like,

4:48

got him. Exactly.

4:57

Okay. Here's that whiplash we're talking about. I'm

5:00

trying to think if there's some musical connection,

5:03

but let's just hear the music first

5:05

and then we'll decide if there's a

5:07

connection and then hear the story behind

5:09

it. We're going to hear some jazz

5:11

saxophone. This is Julieta Eugenio from Argentina.

5:14

This track is called Breath One or

5:16

Breath Uno and the album coming out in late

5:18

March is called Stay. Breath

5:50

One and Breath Two are Breath Uno and

5:52

Breath Dos are a duet with

5:55

Argentine keyboardist Leo Genovesse. They're the first

5:57

tracks that are released a single day.

6:00

from this album, not to stretch the

6:02

metaphor too thin. Although, you know, I

6:04

gotta say that the

6:06

guys in the Lara Project using autotune

6:08

as the lead voice speaks

6:11

to tone, speaks to tonality,

6:13

speaks to a sound that'll

6:16

identify someone. And I

6:18

think it segues nicely into Julietu Eugenio's

6:20

solo saxophone sound where you hear her

6:22

tone, a nice big breathy tone that

6:25

really falls into the jazz tradition of

6:27

so many tenor saxophonists. Like I

6:30

said, she is from Argentina and I gotta point

6:32

out that Argentina has a place in jazz history

6:34

because one of the great jazz saxophonists of all

6:36

time, as far as I'm concerned, is a guy

6:38

named Gato Babieri who was from

6:40

Argentina. He played from the late 60s to

6:42

his death in 2016. And

6:44

Juliet is another example of this

6:46

vibrant jazz scene to come out

6:49

of Argentina. And it's notable because

6:51

she's using a saxophone

6:53

trio, that saxophone, bass and

6:55

drums. So

7:25

there are no chord instruments, right? Sometimes

7:27

you need the chord instruments, guitar, piano,

7:30

to give a direction, a musical direction,

7:32

a chordal direction of where the notes

7:34

should go in terms of musical theory.

7:38

This saxophone trio is not

7:40

an easy thing to do and very few people have

7:42

taken it on, but I really think that she pulls

7:44

it off with this in this record and in her

7:46

last record as well. Oh my god, she more

7:49

than pulls it off. I mean, there's

7:51

something so lovely to listen to. It's

7:53

one of those songs that really takes

7:55

you somewhere, I think, and that's what

7:57

I love about the fact that you

7:59

say too. that Argentina has such a

8:01

place in jazz history because there

8:03

is something almost that that takes me there

8:05

that feels very personal about what she's put

8:07

out here and I don't know it's it's

8:09

really really beautiful it's and it's visual in

8:11

many ways too. Great great track great

8:14

album stay is the name of the records coming out on

8:16

March 29. Okay

8:18

let's just turn this big boat around

8:20

a little bit what's your next track?

8:23

So building off of that was a

8:25

very similar track this is the track

8:28

Noche Estebano and it's from the artist

8:30

Estéman featuring one of our favorite Puerto

8:32

Rican artists, Ziano and Piano. It's

8:36

a little bit of a shift but it's amazing. This

9:19

is actually one of I didn't realize I

9:21

was doing like Columbia show today but this

9:23

is Estéman is one

9:25

of the artists one of two I'm

9:27

bringing today who is really kind of

9:30

making a name for this more like

9:32

dancey electronicy pop coming out of Columbia.

9:34

Obviously Columbia in many ways at

9:36

this moment is known a lot for reggaeton it

9:38

has these huge artists on the map who are

9:40

doing that but he's really

9:42

forging a space in in

9:44

the more alternative poppy scene

9:47

for doing this kind of really

9:49

fun funky dance music. I love

9:51

this track from him one

9:54

because it features Ziano and Piano

9:56

which is an extremely unlikely pairing

9:58

in my book but actually actually,

10:00

I think makes a ton of sense.

10:02

I mean, his list of collaborators before

10:04

this has been like, Karla Morrison, Lisa

10:07

Muet from BOMBAI Stereo. He's more kind

10:09

of alternative, more electronic,

10:11

or like kind of Indian,

10:13

Karla's case. But, Viana

10:16

is not that at all, but

10:18

she is, one, a

10:21

person who is forging a space in

10:23

Puerto Rico outside of the dominating Reggaeton

10:25

sound there, and two, they've both been

10:27

incredible advocates and

10:30

icons in the queer communities and their

10:32

respective countries. So it's really beautiful to

10:34

see them come together, not only with

10:36

this amazing track, but also in the

10:38

imagery. Estemán is known for having this

10:40

very kind of fun, elaborate, colorful dance

10:42

moves, imagery, colors, and they came together

10:44

and got to do that. So I

10:46

am especially excited to see how he

10:48

performs this because he's wild to

10:50

see on stage, and I cannot imagine how he's going

10:53

to dance it out to this one. So it was

10:55

a really fun track to listen to. And I

10:57

want to remind the listeners

11:08

that

11:10

Viana

11:12

Diaro played

11:21

an incredible tiny dance during Latino Heritage Month

11:23

last year. So go to our website and

11:25

check it out.

11:33

You are listening to Alt Latino. We are listening

11:35

to new music. I'm in the jazz

11:37

mood this week. OK, so I'm going to do it. You're

11:39

always in a jazz mood, really. That is true. That is

11:42

very true. There's

11:44

an album called Familia, and

11:46

it's by this trio, Rodrigo

11:48

Recabarren, Pablo Menares, and

11:50

Yago Vasquez. Rodrigo and

11:52

Pablo are from Chile. Rodrigo is a

11:54

drummer. Pablo is a bassist. Yago is

11:56

a pianist from Galicia, Spain. That upper

11:58

north was a pianist. corner of Spain. They've

12:00

been together as a chill for a decade. They live

12:03

in New York but what they've been able to do

12:05

is they're part of this this movement

12:07

that's I guess been

12:09

called the Pan-Latin Jazz Scene

12:11

or movement. They're moving away

12:13

from the Afro-Cuban Afro-Caribbean based

12:15

Latin Jazz that was started

12:17

back in the 1940s and

12:20

it's pretty much dominated Latin

12:22

music Latin. They're pretty much dominated

12:24

Latin jazz but now the

12:27

last maybe 20-25 years it's

12:30

starting to really expand out and

12:32

these guys they're using folk rhythms

12:34

from Chile from Galicia there's some

12:36

stuff from Argentina on this album.

12:38

There's all kinds of different sounds

12:40

and rhythms and this track is

12:42

called Santiago. Check it

12:44

out on it. This is their take

12:46

on Acumia. This

12:53

is their take on Acumia. music

13:53

I think you can hear that while

13:55

they're not exactly duplicating the Acumia rhythm

13:58

or Acumia beat from Colombia They

14:01

are interpreting it or approximating it

14:03

with the drummer almost doing like

14:05

a marching military thing on the

14:08

snare drum. But it's the bass

14:10

that's holding the dum-dum-dum-dum-dum-dum-dum. And on

14:12

top of it, the

14:14

pianist is just really just laying

14:17

all of these beautiful melodies on top. The

14:19

whole record is an

14:22

amazing display of this Pan-Latin

14:24

movement that's happening. And yet

14:26

still within the jazz piano

14:28

trio tradition, that's such a

14:30

big part of the history of jazz. Going

14:32

back to Bill Evans, Oscar Peterson, etc. It's

14:36

really a remarkable expression of

14:38

what musicians from Latin

14:40

America, how they're interpreting jazz these

14:42

days. It's so

14:44

interesting, Felix, because when you sent

14:47

this pic, I admittedly did not

14:49

hear cumbia. I didn't. If

14:51

you hadn't told me, I wouldn't have guessed it. But

14:53

there is something in the groove

14:56

of how it moves that now that you say

14:58

it, and you define it specifically,

15:00

I'm like, oh yeah, I get exactly what you're saying with

15:02

the snare drum. But there is something

15:04

that you can almost perceive in the back of

15:07

your mind. You're like, oh, there's something

15:09

a little bit bouncier to me about this

15:11

than your typical, smoother jazz track.

15:13

And I love that there's such a subtlety

15:15

to it, and it's so ingenious really to

15:17

be able to work it in that smoothly.

15:21

It's a big step away from the clave

15:23

based, you know, like Mambo cha cha

15:26

cha, or the ting ting ting ting

15:28

ting ting ting of a straight ahead

15:30

jazz thing, right? They're bringing in all

15:33

this other stuff. They and

15:35

a lot of other musicians. They

15:37

got my ears, man. They got my attention. I'll

15:55

be back with our exploration of new music right after this.

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18:01

we're back to our exploration of all

18:03

the good new music out there. Okay,

18:07

so it's my last track

18:09

which I'm extremely excited about. This

18:11

is from artist El Cielmar. The track

18:14

is called Entre Las Piermas, and this

18:16

is coming off of an album that

18:18

will be released later this year. I'm

18:51

really jazzed

18:54

about this track. Jazz?

19:09

Yeah, jazz. I know you hear jazz

19:11

and you're like, Hey, jazz? No,

19:13

not that kind of jazz. This is

19:15

from Colombian singer-songwriter El Cielmar. She

19:18

came out of the gate swinging

19:20

with a 2019 Best New Artist

19:22

nomination at the Latin Gremmys and

19:24

then a 2023 Best

19:26

New Artist nomination at Premio Lo Nuestro. So

19:29

she's been an artist that there's been a

19:31

lot of energy around from the beginning. She

19:33

went to Berkeley. She's always been a really

19:35

gifted songwriter, singer, very promising. And this song

19:38

feels like a pivot moment for her. It

19:40

feels like a very grown-up Elsa

19:42

to me with this gorgeous ode to

19:44

an exploration of femininity. She's

19:48

loving it. She's projecting it. She's maybe

19:50

questioning it. She's airing her grievances with

19:52

it, complicated feelings about it. So

19:55

thematically, it's very sophisticated. Stylistically,

19:57

she's really hitting the stress.

20:00

with this fun kind of roquera sound

20:02

that has a lot of funky contemporary

20:04

production choices. This is Julian Bernal who's

20:06

producing for her. He's done all kinds

20:08

of stuff in Mexico City. It's almost

20:11

like a little pot punky a la

20:13

maybe even like Olivia Rodrigo with these

20:15

electric guitars rocking out on the chorus.

20:18

She really hits it on the nose with

20:20

the actual theme of it, what

20:26

she explores. I really felt

20:29

honestly seen by the thought. The three tracks

20:31

you brought in on a explain

20:34

how they're different to me. All right,

20:37

I've heard them. I hear heavy

20:39

electronic instruments, mainly keyboards. I hear

20:41

very subtle vocals. I

20:43

hear very distinct rhythms. A couple of them

20:46

had you know what they call the drop

20:48

where it just it builds up to

20:50

it but then it takes off with a more intense feeling.

20:52

But for people who are not used to

20:54

this music or are not listening to it on a

20:56

regular, how do you describe the

20:58

differences? Because I don't hear a lot of

21:01

difference between the three. Are they

21:03

pop? What are those differences? Because

21:06

I don't hear it. There is obviously

21:08

some synergy between them that I

21:10

think is created by what is

21:12

like the mobile with

21:14

production right now. A lot of

21:17

these like mixing of synthetic sounds

21:19

with more alternative

21:21

rocky instrumentals like that very much

21:23

something I think a lot of

21:25

people are experimenting with right now.

21:27

That being said, I think

21:30

if anything it's the expression that feels really

21:32

distinct to me. For example, if you look

21:34

at this El Sayel Mar song, yes it

21:37

is about identity just like the

21:40

Estemaan and the Ano Antiano song were.

21:42

But to me it is this really

21:44

beautiful nuanced exploration of

21:47

what it means to

21:49

be a woman. I mean she said that she woke

21:51

up one day and was like wow it occurred to

21:53

me like why why is it that I'm making explanations

21:55

for the fact you know that I have a period

21:57

and I have to walk around being a woman or

21:59

something. much weight that's carried

22:01

with that. And everything

22:04

that she says in the song, you

22:06

know, she says Con esta sangre que

22:08

me corrente las piernas me hace luce

22:11

el me hace eterna soy tan suave

22:13

tan dulienta un supportable pera. Estoy mal

22:15

y no me tesa me a encanzado,

22:17

se buena, so lo quiero espías y

22:20

entosie eso temolesta. Which is basically with

22:22

this blood that runs between my legs,

22:24

makes me sweet, makes me eternal. I'm

22:27

so soft, so violent, unbearably bitchy. I'm

22:29

bad and it doesn't weigh me down. I'm

22:31

tired of being good. I just want to breathe.

22:33

I'm sorry if that bothers you. And I do

22:35

think there's something to be said here about what's

22:37

happening in the larger Latin music space. There's this

22:40

reggaeton beat that we've all grown to know and

22:42

love. Now we have this explosion of regional

22:44

Mexican music. And to me, the third piece

22:46

are these kind of like indie

22:49

alternative pop. It is pop, but

22:52

it's identity pop. It's exploratory pop. It's

22:54

really an expression of the personhood for

22:56

a lot of these young artists of

22:58

growing up of what it

23:00

means to have a distinct experience. And in

23:02

this contemporary production, the synthetics, it's a vehicle

23:05

for that. And I do think they play

23:07

with it in different ways. You know, Elsa

23:09

went a little rocky or Lara Project did

23:11

the auto tune piece as we talked about,

23:14

goes a little more cinematic with the strings.

23:16

So to me, there is a

23:18

distinctness in how they sound, but more importantly, it's

23:20

the distinctness of experience that's being expressed. Thank

23:23

you so much. That was brilliant. Can I

23:25

just say that? No, because it helps. No,

23:28

I'm glad you asked. Yeah. Thanks to

23:30

you. I think people like me who are

23:32

coming to this without that experience, you're going

23:34

to be able to appreciate the differences. And

23:37

I love that you ask that

23:39

because I want people to

23:41

hear what I hear in this, in that in

23:44

the validity of the experience, you know, in

23:46

the validity of this music. And I think

23:48

with the dawn of so much, you

23:51

know, synthetic incorporation, especially with the way

23:53

that people do production now, I think

23:55

it's harder sometimes, especially, you know, feel

23:57

like for you, who's who's used to

24:00

the jazz expression that you're

24:02

used to. It's such a

24:05

different manifestation of what

24:07

makes this music unique. Now we're going

24:09

to do a little bit of a sonic whiplash,

24:12

but not really because this track

24:14

also has to deal with identity, the

24:17

things that we've been talking about in the music. This

24:19

is from a band called Hooray for the

24:21

Refraff. The lead singer is Alinda Segara. The

24:23

band is from New Orleans. They live in

24:26

the Americana scene. But since

24:28

about 2017, they've been

24:30

exploring Alinda's background of

24:32

growing up in the Bronx from Puerto

24:34

Rican heritage. This track is called Hawk

24:37

Moon. We'll play a little bit and then talk about it. I

25:00

gotta say

25:04

before

25:11

we talk about

25:14

the song, I

25:20

want to direct folks to our website because

25:22

the video that goes along with this is

25:24

pretty fantastic. It's sort of autobiographical. It's about

25:26

a trans woman that they met early in

25:28

their life. I've always been fascinated by Alinda.

25:31

I met them whenever they were

25:33

already into the process of being

25:35

this scene in Americana. And then

25:37

they transitioned into wanting to

25:39

know more about their Puerto Rican heritage. Like I

25:41

said, grew up in the Bronx, listened to a

25:44

lot of different stuff. And

25:46

the way it's resulted is not in the

25:48

ways that you expect. There aren't a lot

25:50

of Puerto Rican rhythms and all that. But

25:52

it's there, the sensibility, some of the references.

25:55

And in a little bit of the music,

25:57

it's still very much, as you can hear,

25:59

kind of. country folk Americana thing

26:01

but I think that Linda is one

26:03

of the most fascinating songwriters out there

26:06

in terms of discovering identity and

26:08

discovering all of that through music.

26:27

I loved this record Felix like

26:29

really did love it like there's

26:31

something about their style of folk

26:33

that I just like really comforting.

26:36

I think you hit it on the nose where you

26:38

said exploring identity through their music

26:40

specifically like getting more interested in their

26:43

Puerto Rican identity and then coming back

26:45

to the music and you don't necessarily

26:48

hear it like in the way you would

26:50

expect to but the authenticity I think is

26:52

what's key here and we've talked a bit

26:54

about Latin country music Felix and

26:57

kind of what makes it distinct and

26:59

some of that is as simple as

27:02

as an authentic expression of what is a

27:04

true identity to be both Latino and to

27:06

also be born and raised in a country

27:08

tradition and I think they're a perfect example

27:10

of that where it sounds

27:13

almost like an exploration because it just

27:15

feels so real and raw and true

27:17

to who they are and I just

27:20

love that this one line this lyric

27:22

I like I want to frame it

27:24

I'm becoming the kind of girl they

27:26

warned me about like oh

27:28

my god that talk about that songwriting

27:31

capability it's just it's pretty brilliant

27:33

it's another example of being able to trace

27:36

an artist and watch that artist come around

27:38

it's a fascinating trail there's all these little

27:40

little breadcrumbs of identity and musicality along the

27:42

way always have been a big fan of

27:44

the band hooray for the riffraff is the

27:46

band the album is called the past is

27:48

still alive it's already out so you can

27:50

go check it out on your streaming services

27:52

or maybe even actually buy a CD help

27:55

them out huh oh my god

27:57

a vinyl perhaps Okay,

28:02

Ms. Carmen Sandiego, where in the world are

28:05

you? Hopefully you'll eventually make your

28:07

way back to DC. God knows where you're

28:09

going to be next. We just

28:11

can't keep up with you. A couple

28:13

of quick pit stops and then I'm back. So

28:17

he's a pit stop. You

28:19

have been listening to Alt Latino from NPR

28:21

Music. Our audio producer for this episode is

28:24

Joaquin Cutler. Our digital editor is

28:26

Hazel Sills. And the woman

28:28

who keeps us on track, keeps the trains

28:30

running, keeps it all together, is Grace Chung.

28:33

Saray Mohammed is the executive producer of

28:35

NPR Music. And our hef-ann

28:37

chief is Keith Jenkins, VP of

28:40

Music and Visuals. I'm Felix Contreras.

28:42

And I'm Ana Maria Ser. Thank you so much

28:45

for listening. Thank you.

28:47

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