"Negra Presuntuosa"

Afro-Peruvian music has received well-deserved attention since the 1995 Luaka Bop release The Soul of Black Peru, compiled by David Byrne and Yale Evelev, and also many subsequent releases and tours by the group Peru Negro, and especially, singer Susana Baca, the genre's poster girl. This music is sensuous, funky, and irresistibly tuneful, and it powerfully evokes the long-hidden history of Peru's African slaves and their descendents. The sound came as a revelation to many non-Peruvians, but there have been relatively few subsequent international releases. Still, given the buzz, it is surprising that Afro-Peruvian singer Eva Ayllon is only now emerging into the world music limelight. After all, Ayllon has been releasing albums since the 1970s--she has over 20 so far--and has toured the US and Canada repeatedly. More to the point, she has a fabulous, versatile voice punctuated by growls and sighs, but at its center, a hurricane of passion that can't be denied. For anyone who has so far managed to overlook Ayllon, this tour-de-force release should establish her not only as a bona-fide Afro Peruvian diva, but as one of the most exciting voices in contemporary world music.

Ayllon concentrates on three forms here, the creolized vals, the lively 6/8 festejo, and Peru's signature, slow, call-and-response form, the lando. The lando is one of the most sensuous song styles ever invented. It has an uncanny ability to stretch time like a fun-house mirror, and once it gets inside your spine, it takes over like a love-starved spirit. Landos like "Negra Presuntuosa" and "Cardo ó Ceniza" reveal a more richly orchestrated sound than typical on Baca's recordings. Ayllon's all-star, Lima band includes prominent piano in addition to the standard guitar, cajon (wooden box drum)and bass lineup. A more muscular accompaniment is fitting given Ayllon's robust, powerful instrument, but none of the lando's nuance and subtlety get lost in the mix.

The same goes for Ayllon's punchy, impulsive valses. Tracks like "Para Qué" and "Cuando Llor mi Guitarra" (which goes back to 1962) deliver a taut, electrifying passion more associated with classic tango than with any European waltz. Ayllon can pump out a full-throated gale of melody, or temper her performance with raspy edges and smoky softness that only underscore the sense of pent-up emotion.

When it comes to the festejo, Ayllon seems particularly at home. The powerhouse backing on tracks like "Inga," and especially "Jolgorio de Eva" set up her most unbridled and affecting vocal performances. For good measure, Ayllon concludes this album with a nod to Cuba and Puerto Rico as she tears into salsa ("Cuando Llege La Hora") and caresses a sweet bolero ("Que Somos Amantes"), backed by session musicians from L.A. and San Juan. In all, a flawless and deeply satisfying set from a singer every fan of Latin music should know.

Contributed by: Banning Eyre for www.afropop.org