An
Afro-Portuguese Odyssey
Some of the most addictively lyrical
music from the mother continent emanates from the former Portuguese
colonies of Cape Verde, Guinea Bissau, Angola and Mozambique.
While the colonists certainly left their cultural stamp over four
centuries, it is a tribute to the African musical genius that
wherever the currents flow from they have become the grist for
a vast, varied creative mill of poetry.
What continually flabbergasts me is the fact that very little
Afro-Portuguese music is available. Anyone who has heard David
Byrne’s slightly unfocussed Adventures In Afropea (Luaka
Bop) of a decade back should have at least been stimulated to
look further. The barefoot Cape Verdean diva Cesaria Evora is
certainly the most well-known artist from any of these countries,
her soulful mixture of morna, funana, Portuguese fado and other
styles bestowing this wonderfully distinctive singer with the
mantel of a sort of West African Edith Piaf. Bonga is an excellent
singer from Angola who has built up a healthy international reputation
with his raspy melodious sound and at a stretch the mellifluous
beauty of compatriot Waldemar Bastos might sneak in before the
well runs dry.
It is surprising then, but also a salutary lesson that none of
these artists feature on what is certainly the best compilation
of the ilk that I’ve heard, the Afro-Portuguese collection
from Putumayo. Starting off with some fine laid-back afro-groove
from Angola and swaying marrabenta from Mozambique, the nape hairs
really unfurl on the third number Na Bu Mons, a gorgeous ballad,
gently buffeted by male chorus and haunting arrangements beautifully
sung by Guinea-Bissauan songstress Ereida Marta.
The music from Guinea Bissau probably has the least presence on
the world stage, yet its beguiling, gritty fusion of Portuguese
, West African, latin and flamenco sounds spells its source without
the joins showing and instantly thrusts it into musical powerhouse
territory. Kudos to Putumayo for including 5 of the 13 selections
from there, as they add a powerful individualistic streak of sinew
to the collection. Musical genii like Manecas Costa and Bidinte
are absolutely compulsory listening for all musicians whether
they listen to African music or not.
Lyrical, hypnotically rhythmic and melodic with stunning acoustic
guitar interplay, singing and chorus, they are ready made desert
island material, especially Bidinte’s deeply moving Considjo
Di Garandis. These are followed by two numbers from Dulce Neves
and Ze Marel, which update the broader West African tradition
GB style. Indeed, the latter’s Bu Fidjo Feria is almost like
a traditional praise song for the 21st century, slow intense and
stately, quite unlike any other African music I’ve heard.
Of course, none of this is to denigrate the other very good selections
from Angola and Cape Verde.
The Mendes Brothers’ Cor Di Rosa is simply elegance personified
with swirling orchestrations, while other pieces have a strong
samba feel that attests to the free interplay of ideas between
Brazil and the former Portuguese possessions. Canta Forte by Angolans
Banda Maravilha is a nice dance piece influenced by Haitian compas.
Jovino Dos Santos closes this highly recommended record with his
take on salsa via Cabo Verde, Africa Mamae. With all this extremely
varied African music around, those unfamiliar with the broad scope
of how rhythm is expressed are probably asking - but where are
the drums? Feb 2003
