Felix Contreras

Felix Contreras is co-host of Alt.Latino, NPR's web-based program about Latin Alternative music and Latino culture. It features music as well as interviews with many of the most well-known Latino musicians, actors, film makers and writers.

Previously, Contreras was a producer and reporter for NPR's Arts Desk and covered, among other stories and projects: a series reported from Mexico introducing the then-new musical movement called Latin Alternative; a series of stories on the financial challenges facing aging jazz musicians; and helped produce NPR's award winning series 50 Great Voices.

He once stood on the stage of the legendary jazz club The Village Vanguard after interviewing the club's owner and swears he felt the spirits of Coltrane and Monk walking through the room.

Contreras is a recovering television journalist who has worked for both NBC and Univision. He's also a part-time musician who plays Afro-Cuban percussion with various jazz and Latin bands.

The first time I heard it, Irene Diaz's voice stopped me cold: Her sheer power belies her compact stature, and her musical impact is simply immense. With her musical partner Carolyn Cardoza strumming away intently on ukulele, Diaz conjures a place where emotions run deep and beauty is unmistakable. Watch them perform these four songs at the Tiny Desk to see what I mean.

Set List

  • "My Sweetest Sin"
  • "Crazy Love"
  • "Lover's Sway"
  • "I Love You Madly"

Credits

The Southern California band Quetzal recently celebrated its 20th anniversary with a blowout concert that seemed to attract as many musicians as regular people. The band has maintained such a strong presence in the SoCal Chicano music scene that its members could be considered padrinos and padrinas of that free-flowing musical community.

Twenty years is a long time in the life of a band. In the case of Quetzal, its two decades have been spent playing the soundtrack of its East L.A. neighborhoods: an evolving mash-up of Mexican son jarocho, low-rider oldies, cumbia, boleros, rock and blues.

Many Angelenos consider Quetzal as much as an institution as its East L.A. brethren in Los Lobos. Much of the current revival of son jarocho can be traced to Quetzal's history of playing the music when few others bothered.

This is not your parents' Brazilian music.

This is the Brazil where samba, bossa nova and Musica Popular Brasileira meet hip-hop, rock, jazz and electronica. Underneath all the contemporary mash ups is the DNA that makes Brazilian music some of the most vibrant on the planet: Interlocking rhythms that go right to the hips; melodies that never seem to veer into the somber minor keys; and drums of all shapes and sizes.

One of my first album purchases ever was Black Sabbath's Masters of Reality in 1971. I actually took it back to my local Tower Records where I bought it because it sounded like there was something wrong with the sound. The guitars, I told them, they sound muffled and fuzzy.

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