"Transason"

The latest talent to emerge from the Cape Verdean archipelago adds new power and sophistication to an alluring national genre, and also to the ever growing ranks of acoustic Afropop.  Tcheka is a terrific acoustic guitarist and has a voice capable of gentle sweetness as well as angst worthy of Salif Keita, as on the album’s telling opener, “Agonia (Agony).”  It’s a fine, hornlike voice, which along with his sharp guitar riffs and rhythmically savvy arranging, lends emotional heft to a sound that might otherwise drift into easy listening.  From the percussion-rich, acoustic funk of “Djam Kré Bejabu,” to angular, piquant 6/8 of “Makriadu” these songs deliver rootsy messages about rural life, domestic violence, poverty, the great drought of 1947, love, marriage, and the devil—all with a decidedly modern twist. 

Many songs, including the title track, unfold over beds of layered guitar, mostly finger picked, nylon string guitars.  When Tcheka steps out for a solo, it is always precise and tuneful, and occasionally infused with traces of jazz harmony.  The roots are well dressed in urbanity here, but ever present.  “Transason (Mixture)” a celebratory wedding song, is a masterful acoustic arrangement of Cape Verdean dance pop, ending the set on a merry note.  Overall, though, restlessness, nostalgia and grief intermingle with finely honed song craft, and jazz-worthy musicianship.  Despite dangerously smooth aesthetics and immaculate production, Tcheka manages to keep it real.    

This review was expanded from one originally written for the Boston Phoenix.

Contributed by: Banning Eyre