Felix Contreras

This is an Encore presentation of Alt.Latino.

Even better the second time!

Enjoy.

This week on Alt.Latino, we venture into a long-running conversation about remixing classic recordings. Along the way, we feature a new album released by Fania Records called Calentura, in which the label sent a handful of DJs and producers a treasure trove of original masters from the Golden Age of the brash and innovative Afro-Caribbean music known as salsa.

I can already hear some of you reacting to the concept:

The presence of accordion-powered European dance music along the Texas/Mexico border is a phenomenon only about a hundred years old, forged as twists of historical fate made Tejanos and Polish farmers neighbors in the region's rural communities. One thing led to another, and soon Mexican-Americans were singing Spanish lyrics over the oompah of polkas and Bavarian waltzes. But despite its short history, Tex-Mex conjunto has made a profound cultural impact and become an identifying characteristic of an entire subculture of the Latino community here in the U.S.

When someone once asked Nando Chang if he was into Tupac, the Peruvian American hip-hop fan thought the reference was to Tupac Amaru, a legendary Incan warrior.

Updated 3:21 p.m., April 27 with more detailed information on Charles Neville's passing.

When I first heard ÌFÉ I was stopped in my tracks. Literally. I pulled the car over and just listened.

I recognized Afro-Cuban drumming and chanting, but it was coming at me with electronic furnishings that made their drums and vocals sound like a futuristic spiritual ceremony.

Mexico's musical output cuts such a wide swath across contemporary music on both sides of the border, it's often difficult to keep up. While pop music dominates, everything from mariachi to corridos to cumbia to mashups of any of the above make the country one of the most musically influential in Latin America.

Cumbia has become the lingua franca of Latin American music. A 2/4 beat that started in colonial Colombia, it has spread throughout Latin America, varying funkily throughout the continent.

So it makes sense that the artist who calls himself El Hijo de la Cumbia ("The Son of the Cumbia") lives in... Malmö, Sweden?

The U.S./Mexico border is the source of intense political discourse and heartbreaking stories of people caught in between a multi-sided immigration debate. For quite a while now, very strident music has been coming out that reflects all of the above.

Fifty years ago, Johnny Cash performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, At Folsom Prison, helped revitalize Cash's career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden.

Jorge Drexler is a poet with a gift for song. The Uruguayan singer-songwriter, like the iconic Latin American lyricists of the past (Mercedes Sosa, Victor Jara and Silvio Rodriguez, to name just a few), has that rare ability to surround multi-layered prose with music that lends an even deeper resonance to the words.

It's not often that Rosicrucianism and a salsa-playing robot come up in the same conversation — chatting with Peruvian-born, New York-based musician, composer, robotics and software developer Efraín Rozas is a heady whirlwind.

Lara Bello occupies the space between genres where magic happens. Born in Spain, she was raised with not only Spanish traditions like flamenco and canto but also pop music and jazz. The instrumentation she assembled for her Tiny Desk reflects that elastic approach to genre: acoustic classical guitar, clarinet, violin and a percussionist who didn't keep time so much as color the proceedings.

This week's show is another one of those that makes me want to climb the nearest (kinda-) tall building and shout about the variety of genres and styles continuously being released under the rubric of "Latin music." Increasingly, that identifier is getting stretched thinner and thinner, becoming inadequate to the point of being nearly useless.

Vocalist Eleanor Dubinsky is slowly, but steadily, building a body of work that consists of elegant and thoughtful songwriting that slides easily between genres and geography through top-notch musicianship, all in service to a voice that stopped me in my tracks when I first heard it. Her new album, Soft Spot Of My Heart, is her strongest work yet.

For decades, DownBeat magazine has been entertaining jazz fans with their monthly feature called "Blindfold Test," in which they play recordings for a guest musicians and have them offer impressions without any information about who is playing. That's what we did with guest host Korva Coleman; eight tracks to choose from, four selected.

Jenny and the Mexicats is a discovery from South by Southwest a few years ago that I haven't been able to get out of my mind, and with good reason: The band's high energy shows are unforgettable, as is its sound. Mixing flamenco, originally from southern Spain, with Jenny Ball's jazz trumpet background and a little bit of cumbia has created their one-of-a-kind musical identity.

I am not ashamed to admit it: I was overcome with emotion a few moments after entering Areito Estudio Ciento Uno (Areito Studio 101) inside the EGREM recording complex in the center of Havana, Cuba.

Amara La Negra is a force of nature.

I don't think you could find two acts with sounds as different as the dreamy rock grooves of The Marias and the explosive Afro-Latina expression of Amara La Negra. But there they were, sharing the stage for two hours right in the middle of the week at SXSW 2018.

There's plenty to hear on stages across Austin during SXSW, and what you can hear on this page is just a taste — a recording of a pair of live shows from Alt.Latino's showcase at the Radio Day Stage on Wednesday.

Raul Midón lives in a world of sound — blind since birth, Midón's interpretation of his surroundings is borderless. He sings with the passion of the best classic soul singers, and his instrumental chops stand along side the most accomplished jazz musicians.

Normally backed by a band that straddles styles just as well as he does, for his turn behind Bob Boilen's desk Midón stripped it down to just voice and guitar, the musical equivalent of tightrope walking without a net.

Even before The Beatles recorded their own version of "Twist and Shout," British fascination with American soul music has run deep. Vocalist and songwriter Alex Clare is yet another soul disciple from the UK, and his visit to Bob Boilen's desk is the perfect setting to bask in the power of his voice.

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