Alt.Latino's favorite songs of 2024
Update: 2024-12-11
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Description
Felix Contreras, Anamaria Sayre and Isabella Gomez Sarmiento run through their favorites in a crowded year for excellent songs, from innovative Spanish hip-hop to distinctive jazz.
Songs featured in this episode:
•Çantamarta, "MOTORIZADO"
•Mala Rodriguez, "Casi Nada"
•Zaccai Curtis, "Maple Leaf Rag"
•Ca7riel y Paco Amoroso, "DUMBAI"
•Melissa Aldana, "A Purpose"
•Residente, "313"
Audio for this episode of Alt.Latino was edited and mixed by Simon Rentner. Editorial support from Hazel Cills. Our project manager is Grace Chung. NPR Music's executive producer is Suraya Mohamed. Our VP of Music and Visuals is Keith Jenkins.
Learn more about sponsor message choices: podcastchoices.com/adchoices
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Songs featured in this episode:
•Çantamarta, "MOTORIZADO"
•Mala Rodriguez, "Casi Nada"
•Zaccai Curtis, "Maple Leaf Rag"
•Ca7riel y Paco Amoroso, "DUMBAI"
•Melissa Aldana, "A Purpose"
•Residente, "313"
Audio for this episode of Alt.Latino was edited and mixed by Simon Rentner. Editorial support from Hazel Cills. Our project manager is Grace Chung. NPR Music's executive producer is Suraya Mohamed. Our VP of Music and Visuals is Keith Jenkins.
Learn more about sponsor message choices: podcastchoices.com/adchoices
NPR Privacy Policy
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00:00:00
Support for this podcast and the following message come from Dignity Memorial.
00:00:05
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00:00:10
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00:00:14
For additional information visit DignityMemorial.com.
00:00:19
From NPR Music, this is Art Latino, I'm Felix Contreras.
00:00:22
And I'm Ana Maria Serra.
00:00:24
We have with us today, Isabella Gomez-Addingantho, hello.
00:00:29
Okay, we did albums last week.
00:00:31
Now we're here with a bunch of songs.
00:00:33
We are talking songs, man.
00:00:36
I was most excited I've ever heard Felix be.
00:00:39
What, yay?
00:00:40
Yay!
00:00:41
Yeah, yeah, yeah.
00:00:42
Songs, we're gonna talk songs on.
00:00:44
Let's see, let's see.
00:00:45
Isabella, you get the audience, you get to go first.
00:00:48
Thank you so much.
00:00:49
Okay, I'm very excited for what I brought today.
00:00:52
This is a song called Motori Sado by the trio Santa Marta.
00:00:57
They're a Madrid-based trio.
00:00:59
Their singer Luis Lo is Colombian and Venezuelan.
00:01:02
And again, this is off their debut album Pastarella, which is really rooted in the migrant experience and sort of like holding your head up high and the positive aspects of what it's like to be a migrant.
00:01:13
But yeah, this is the song Motori Sado.
00:01:16
[MUSIC],
00:01:28
[MUSIC]
00:01:36
[MUSIC]
00:01:46
[MUSIC]
00:01:56
[MUSIC]
00:02:06
This was a song that really caught my ear and I keep coming back to.
00:02:21
I love the throwback size of vibe.
00:02:23
Lyrically, I love that it's sort of rooted in like writing a motorcycle around the city at night and finding solace in that.
00:02:29
And it really kind of reminds me of, like, Ruim Blades, Maestra Vida, like, Catidian, Life in a city, the everyday experiences of Latino immigrants, Latin migrants.
00:02:40
Like, I just love the feeling and the way that they texturally capture that with the motorcycle sounds, the percussion, like, it's so Caribbean.
00:02:48
And the singer Luis Lo, his voice is just so silky and is really giving me this, like, 90 stroke-people voice phase feeling.
00:02:56
I think it works so well with the instrumentation.
00:02:58
There are one of those bands that I've been, like, waiting, waiting, waiting to see what happens.
00:03:04
Because they really do love embracing that Caribbean spirit.
00:03:06
They both have Caribbean roots as well as on the Lucian roots.
00:03:10
And last time I saw them, actually, I was thinking about this this morning, was I want to say over a year and a half ago.
00:03:17
And there was something special about them.
00:03:19
There was a spark to them.
00:03:20
There was an energy to them that I was like, "Oh, this is going to be something really cool."
00:03:25
But I don't know if they're there yet.
00:03:27
And then they released this album and I was like, "Okay, they found their sound."
00:03:31
Because they were looking, right?
00:03:32
They were looking for a way to view all these things together.
00:03:34
And they've always had this quality of no two songs, sound the same.
00:03:38
And now it's working so well for them.
00:03:41
I love this record.
00:03:42
They really, really found their voice.
00:03:43
Yeah.
00:03:44
And the singer's voice, to me, sounds a lot like, throw people, like, voicemails, like, 90s groups of all these men harmonizing.
00:03:51
Like, it's just so silky smooth.
00:03:53
And it, like, works so well with all of that instrumentation.
00:03:56
I really love this song.
00:03:58
And he himself, as a mascot, he's Colombian and Venezuelan, but totally burro cariway.
00:04:03
Like, that's his energy.
00:04:04
And I think it's like the double migrant experience, too, of like having a Colombian family that growing up in Venezuela and then moving to Europe, like, you carry that sort of double migrant lineage.
00:04:13
It's really powerful.
00:04:14
How they explored it on this record.
00:04:15
Like, sorting that identity out through the record.
00:04:18
Yeah, totally.
00:04:19
So cool.
00:04:20
Nice Rubin Blades reference to Master V either.
00:04:22
One of his unheralded.
00:04:23
No, seriously.
00:04:24
One of his unheralded albums that really was way ahead of its time, mixing in all the sound effects and all that stuff.
00:04:30
One of my favorites of his, it just doesn't get enough attention.
00:04:33
So thanks for the shout out, man.
00:04:34
That was cool.
00:04:35
I knew I was going to get points for me for that one.
00:04:37
I actually literally said to me we're walking in here.
00:04:39
And she goes, Felix is going to love this song.
00:04:42
And that's "Motor di Salo" by the group Santa Marta off of their debut album, "Pasarela".
00:04:48
Okay, Ana, your turn.
00:04:51
Me already?
00:04:52
Yes.
00:04:53
Are you sure you want to do that, Felix?
00:04:55
Yes.
00:04:56
Okay, so this is an example of an artist where I liked the record.
00:05:01
Didn't get to talk about it.
00:05:02
But this song in particular, like, truly knocked me off my feet.
00:05:06
Felix, I don't know if you remember because I do believe I brought this to you earlier this year.
00:05:11
But you probably forgot.
00:05:13
So congratulations.
00:05:14
I'm bringing it to you again.
00:05:16
This is Malaradríguez.
00:05:18
Spanish rapper, innovator, really a pioneer in the Spanish hip-hop space, especially for women.
00:05:24
Felix, you know her.
00:05:25
You remember her, right?
00:05:26
You saw her at South By or something a lot of years ago?
00:05:28
Yes, I did see her in South By.
00:05:29
She came back with her first album in four years.
00:05:33
A new album this year, "Un mundo raro".
00:05:35
And this is the song off of that called "Gasina".
00:05:39
[MUSIC]
00:05:49
[MUSIC]
00:06:14
[MUSIC]
00:06:24
[MUSIC]
00:06:51
One of hip-hop artists or rapper comes back and they say, you know what?
00:06:56
Yeah, I'm going to do all my, like, super intense spirit, like dropping all these really incredible bars, whatever.
00:07:02
But first, the first thing you're going to hear for me in four years is you're going to hear me singing like this.
00:07:09
I mean, her voice shines so beautifully, so deeply on this track.
00:07:14
It's one of those tracks that I play, like, over and over and over and over again.
00:07:18
And also to come back with indifference.
00:07:22
Like, her entire evaluation, I spent time away and what I can tell you is, "No me import la casina".
00:07:28
It's really chilling to me.
00:07:30
Yeah, that wasn't what I was expecting to hear at all.
00:07:32
As you were setting that song up, like, I didn't expect it to be this, like, soft, vulnerable intro.
00:07:37
It was really moving, really, really beautiful.
00:07:40
Like, I have goosebumps from that.
00:07:42
I'm a fan.
00:07:43
I've always liked her stuff, even going back to what I saw in South By.
00:07:46
The story was that I saw her in a restaurant.
00:07:48
I had left my umbrella.
00:07:50
And she was just the nicest person after I had seen her the night before.
00:07:54
It should be so ferocious, so intense on the stage, right?
00:07:58
It's like this duality of these personalities sometimes, because she's just so present when she performs.
00:08:03
I think that makes a lot of sense, though, feel like it's with this song, specifically, because it's such a soft side that I personally don't remember ever hearing from her.
00:08:13
There's, like, a serious vulnerability.
00:08:16
And it feels as though taking space, having all these years in this industry allowed her to finally be at a point where she's, like, actually, this is how I feel, which is really, it's incredible.
00:08:27
I don't know.
00:08:28
It makes me think, feel like something you always talk about.
00:08:30
You're, like, young artists don't have that much to say.
00:08:33
I'm putting you on blast.
00:08:35
But when I hear an artist like this who has, like, years and years and years under her belt and is pioneered in the space, then coming out with a song like this, that's when that really clicks for me.
00:08:44
Like, yeah, it took this many years for her to get to this point.
00:08:47
Yeah, my little Rodriguez is one of the names I associate with the earliest days of Alt Latino.
00:08:51
I'm going to call one from the line.
00:08:53
I'm going to play a track that's not on the list.
00:08:55
It's called "Maria Cervantes" and it's by pianist Zikaikertis.
00:09:02
And I picked a track that goes all the way back to the earliest days of jazz.
00:09:06
This is Maple Leafs Rag from the earliest days of New Orleans jazz.
00:09:11
And this is what he does with it.
00:09:13
He puts some Afro Caribbean spin on it, check it out.
00:09:16
♪ ♪ ♪ Zikaikertis is a piano player based in New York.
00:09:50
He's part of this Curtis family of amazingly talented musicians.
00:09:55
Lucas Curtis' brother, I just saw him play with Eddie Palmieri while back.
00:09:59
He put out this great record this year called "Cubop Lives."
00:10:03
And it's a reference to the earliest days of Afro Cuban jazz in New York.
00:10:08
It was bebop and Cuba.
00:10:09
Initially, Latin jazz was called "Cubop," believe it or not.
00:10:13
♪ ♪ ♪ I could do my whole TED Talk PhD lecture on the connection between Cuban music and New Orleans music and the way it's coming out of New York,
00:10:55
but I won't.
00:10:56
Let me just say that this whole album...
00:10:59
No, I'll feel it.
00:11:01
Do it.
00:11:03
♪ The whole album is this really wonderful collection of songs and tunes, solo piano, great group and ensemble playing.
00:11:13
That's just a nod reference to the earliest days of Afro Cuban jazz coming out of New York in the 1940s and '50s.
00:11:21
Felix, I'm not going to lie to you.
00:11:23
I wasn't sure if I could see the vision until we got to that one part and I was like, "Oh, this is really cool."
00:11:31
Okay, I had the opposite feeling because I was going to be like, "The piano alone is so beautiful.
00:11:35
It doesn't need anything else."
00:11:37
And then the other instrument started and I was like, "Woop, never mind.
00:11:40
This is incredible."
00:11:41
Also, we should call it "Cubop."
00:11:43
Again.
00:11:43
I was in a band called "Cubop" for a while.
00:11:45
The album's called "Cubop Lives" where it goes to Kai.
00:11:49
Okay, we're going to take a break and then when it comes back, what?
00:11:53
We're going to take a break, we're going to come back to our music.
00:11:57
A dad out of baseball game.
00:11:59
Okay, we're going to go to Kai.
00:12:01
Stop it.
00:12:03
He gets it.
00:12:03
He feels me.
00:12:03
Come on.
00:12:05
We're going to take a break.
00:12:05
We'll be right back.
00:12:05
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00:12:39
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00:12:41
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00:12:59
Okay, who's next?
00:13:02
Issa, you're up.
00:13:03
I'm next?
00:13:04
Yes.
00:13:05
All right, because it's so cold and it's freezing outside, I'm going to keep our music today very carueño.
00:13:11
The song I'm bringing today, this is a well-known song for the Latino fam, is Dumbai by Catriel and Paco Moroso off of their album "Banjo María".
00:13:19
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This song is just so good.
00:14:36
It's so fun, and I am obsessed with the vocal differences between Paco and Gatriel.
00:14:42
Like Paco has this like old Spanish man, like Alejandro Sanz-Ras, to his voice.
00:14:47
And then Gatriel is like moving from this, yeah.
00:14:50
Gatriel is moving from these like really delicate, little falsettos to like this baritone, like the way that they both manipulate their voices and play off of each other.
00:14:58
And the beat is just so much fun.
00:15:00
Like I cannot get enough of this song, and I cannot get enough of these guys.
00:15:04
The only thing I will say is that everyone really likes to talk about how the instrumentation on the title is like, oh, it's so different from the recordings, whatever.
00:15:11
True.
00:15:11
And of course, I hear this song, and I immediately leave the instruments from the title to fill my brain.
00:15:16
But that is not to say that the recorded version doesn't have something special to it.
00:15:21
I think that the contrast, there's a difference in the richness, obviously, of the live instrumentation versus the original recording.
00:15:29
But the original recording here really, to me, does stand on its own as something unique.
00:15:34
Totally, which is why I pick this song.
00:15:35
Because I think, again, I love all the discourse that their tiny dust started around electronic recorded music versus live instrumentation.
00:15:42
And what are we looking for?
00:15:44
And do we need more organic live bands?
00:15:46
And all of those discussions, which these guys have proven, they can do both, and they can pull them both off really well.
00:15:51
But I think this song, in particular, like, it shines both ways.
00:15:55
You know, I was talking with a friend who's a producer over the weekend, and he was saying like, you have to know what the rules are before you strip it back.
00:16:02
The music has to have the bones before you can do, you know.
00:16:07
And let's say he's like, people in Mexico who are playing with R&B maybe don't have all the tools to understand the roots of R&B in that same way or whatever.
00:16:14
He's Mexican producer.
00:16:15
And I think that for them, they have all the bones.
00:16:18
Like, they prove themselves so well in that tiny dust.
00:16:20
Like, very clearly, they have the classical training.
00:16:22
So to pull back and do the electronic version feels not empty to me in the way that it could have if they didn't have that.
00:16:30
And I think you can hear that in the track.
00:16:31
OK, two things.
00:16:33
First of all, that's something I always say.
00:16:35
You've got to know what the rules are before you can break them.
00:16:38
And now you go.
00:16:39
Oh, my gosh.
00:16:40
Can you credit me somebody?
00:16:42
How long have I been saying this to you?
00:16:44
No, word.
00:16:45
My friend who's a producer, you guys might not know him.
00:16:49
What's the word, um, karma?
00:16:52
I think it's karma.
00:16:53
I don't pay back.
00:16:54
I don't know.
00:16:56
So anyway, this is what it feels like.
00:16:57
How's it feel?
00:16:58
Feel it.
00:16:58
Oh, my God.
00:17:01
And the other thing is about this particular recording in this song.
00:17:05
It all comes back to the song.
00:17:07
If the song is great, it's going to be-- it's going to work if people deliver it in the proper way.
00:17:13
And they did it on the tiny desk with the instrumentation.
00:17:15
They're doing it here.
00:17:16
If you start with a great song, I think that's what your friend is saying.
00:17:19
If you start with a great song, you can't go wrong.
00:17:21
That's exactly what the Argentine duo Catrieli Paco Modoso did on this song, "DOOM BY" after their album, "Banyamaria."
00:17:28
All right, I'm going to keep it sunny and cone, but a little further, maybe West isn't.
00:17:34
I don't know my geography.
00:17:35
I'm going to go to Chile by way of-- Someone get this man a map.
00:17:38
No, you're right.
00:17:39
Chile.
00:17:40
A little bit west of Argentina, yeah?
00:17:41
Yeah, thank you for that.
00:17:42
By way of New York.
00:17:43
This is saxophoneist Melissa Aldanas.
00:17:45
She had a really, really great record.
00:17:47
I was called-- Oh, I remember her.
00:17:49
Echoes of the inner profits, the name of the record.
00:17:52
This track is called, "A Purpose."
00:17:54
Melissa's been in New York.
00:17:55
She's been making a name for herself.
00:17:56
I think this is her strongest, strongest statement ever.
00:17:59
Check it out.
00:18:00
[MUSIC PLAYING]
00:18:20
[MUSIC PLAYING]
00:18:30
[MUSIC PLAYING]
00:18:40
[MUSIC PLAYING]
00:18:49
[MUSIC PLAYING]
00:19:13
There were a number of great, great jazz albums out this past year from Latinos from-- people from Latinos said all over Latin America.
00:19:20
And Melissa is at that point now where, you know, with the whole jazz thing, it's like you got to be able to hear like two notes and know who the player is and that establishes you as someone significant on the scene.
00:19:34
And she's at that point now.
00:19:35
She has her own sound.
00:19:37
Her compositions are just something that can only come from her.
00:19:41
And I'm just happy to bring this in for one of my best songs of the year.
00:19:45
Felix, you stole from me.
00:19:50
I was so angry when I saw on our NPR best songs of the year list, which everyone can go check out mpr.org/music.
00:20:00
You had chosen the resident they 313 track off of his new album.
00:20:06
He released a new album this year.
00:20:08
Las letras ya no importa.
00:20:10
In this song, when I heard this song, I literally-- I mean, this isn't that surprising.
00:20:14
But I cried.
00:20:15
I seriously cried and then I cried again.
00:20:17
Then I cried like 50,000 times when I listened to it over and over and over again.
00:20:21
I think it's literally poetry.
00:20:23
It's so beautiful.
00:20:24
I go back to it all the time.
00:20:26
So this is my moment of recognition.
00:20:29
This is 313 by Resiente.
00:20:31
It includes Penelope Cruz, Sylvia Perez Cruz, who we love, one of our favorites.
00:20:40
Favorite Spanish vocalists and resident, we're just going to listen to the resident part.
00:20:46
"I want you to kiss my bed, your arms and your legs to my branches, the beach that wraps up with the skin of your sun, with the arena of your back,
00:21:01
and the rumble is walking on the look of your eyes, because they never end.
00:21:07
"Los abres y mestreos se rompen las nubes se disparan los destellos y viajes cuando me vieron, porque son como los cielos que se abrieron,
00:21:19
porque nunca están vacidos, esta llena de corrientes como cuando se desborda el río, eres una vez sola, te disparas como una pistola eres de los que se atrevieron como todos los labios y mis besos conocieron,
00:21:38
nos descubrimos como un solo de requinto como el sol, descubre a las mañanas por instinto, va a darle la vuelta al planeta con las etrellas cometas, soltar los frenos de la bicicleta mientras el cielo se agrieta con su paleta de colores,
00:21:53
violetas, coger la ola completa con todo lo que venga, abrir la boca y que la nieve se derrite mi lengua y fue lo que sere y lo que soy,
00:22:04
aunque no quiere a los ayeres son de hoy, fui lo que me faltó decir, soy de los lugares que tu avía quiero ir porque cada segundo es profeta de lo que el horizonte prometa,
00:22:18
mejor que el tiempo no persiga, contigo hago lo que el momento diga y no quiero que se acabe."
00:22:28
This is clearly a piece that has come out of years and years of trying and creating and living and falling and getting back up, I mean it's like all of these things to me,
00:22:39
encapsulated, and it's really, it's a reflection in many ways on the essence of life, it's poetry, it really is.
00:22:46
Yeah, he's the baolo narula of our generation, like Jose Ante is one of our deepest thinkers, most beautiful writers.
00:22:52
Yeah, my hands really amazing opportunity to interview him in front of a live audience in New York and April and we talked about some of the things that led up to this record.
00:23:05
And this particular song is about, it's a reflection of someone who we lost, very, very different who we lost.
00:23:12
So it has all of these deeper moments, all these different, deeper meanings.
00:23:16
And something you just said right now, he said the baolo narula of Latin music, I've always called him the Eduardo Galiano, the sociologist writer,
00:23:27
right?
00:23:27
But he's transitioned on this particular cut and maybe in general from absorbing the world and now just reflecting in poetry.
00:23:36
You know, he was angry, he was angry and rightfully so, like he was angry and he wanted to talk about problems and he still does, but in a way where he's also like end life flows.
00:23:46
And so much of this song is, yeah, I mean, he says he's like, we have to end so that other things can be born because the world always continues.
00:23:55
It's interesting to watch him and Anadiju put out a statement of that capacity at the same time when their careers have both followed.
00:24:02
Yes, very similar arcs in that sense of like the political social war that they've grappled with in their music.
00:24:09
The chaos doesn't stop, you just learn to manage it, right?
00:24:13
And then just like learn to absorb the world.
00:24:16
So these two musicians who are younger than I am, but they're growing and becoming these really amazing people and it reflects in their music.
00:24:26
All the music this week for this song is looking back over here and we just touched the tip of the iceberg.
00:24:31
There's so much, so much great stuff out there.
00:24:34
It was difficult to do, but somebody had to do it, we had to narrow it down.
00:24:38
Thank you guys for trying to make this representative of the great-year music, man.
00:24:46
You have been listening to Al Latino from NPR Music.
00:24:51
Our audio editor is Simon Retner and we get editorial support from Hazel Sills.
00:24:56
The woman who keeps us on track is Grace Chum.
00:25:00
Sarah Muhammad is executive producer of NPR Music and is behind the knobs and switches to say hi to Sarah.
00:25:06
Open your mic and say hi.
00:25:07
Hello.
00:25:10
Our Hefein Chief is Keith Jenkins, VP of Music and Edition.
00:25:17
As always, thank you so much.
00:25:19
He's a bell.
00:25:20
Gomez, Sunny and Thor.
00:25:20
You guys were having me.
00:25:25
It's been a good year.
00:25:27
We've got maybe a, I think we have one more show to do, but then we're going to take some time off, but just take some time.
00:25:33
Go back over your playlist.
00:25:34
Look back over all the great music that was out there.
00:25:36
Stuff we don't even know about.
00:25:38
And right in, if you have some stuff that you say, how in the heck did you not hear this on this year?
00:25:44
Al.
00:25:45
Latino at NPR.org, the all dots.
00:25:47
I'm Felix Contreras.
00:25:49
And I'm Ana Maria Sayer.
00:25:51
Thank you so much for listening all year.
00:25:53
How fun.
00:25:53
Thank you.
00:25:54
Thank you.
00:25:55
Support for NPR and the following message come from the Kaufman Foundation,
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providing access to opportunities that help people achieve financial stability, upward mobility, and economic prosperity.
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Regardless of race, gender or geography, Kaufman.org.
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