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Lamento Negro

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Reseña de álbum

1986's Lamento Negro was recorded not in Susana Baca's native Peru, but in Cuba with a group of musicians left uncredited on the sleeve. (Before getting your hopes up, no, it doesn't sound like any members of the Buena Vista Social Club are involved.) Although elements of the more familiar Afro Peruvian style first introduced to U.S. audiences on 1997's Susana Baca are present and accounted for (note the glorious "Maria Lando"), Lamento Negro incorporates elements of Afro-Cuban jazz, Brazilian pop, and even classical art song. Most of the tracks, rather than being traditional songs, are musical settings of poems by the likes of Pablo Neruda, Mario Benedetti, and Cesar Vellejo. The resulting tracks are often bracing, but they tend to be hemmed in by the meter of the poetry itself; the recasting of Neruda's "Los Marineros," a funeral dirge set to a haunting, lovely string melody, is fascinating, but one does occasionally wish for the more subtle rhythmic looseness of Baca's more traditional records. The album was originally a Cuban-only release; it was issued in the U.K. and U.S. in 2001, apparently against Baca's wishes.

Biografía

Nacido(a): 30 de abril de 1954 en Lima, Peru

Género: Músicas del mundo

Años de actividad: '00s, '10s

With a splendid voice and equally impressive interpretive gifts, Susana Baca is a primary exponent of the Afro-Peruvian musical tradition. Baca came to world attention in 1995, when her rendition of "Maria Lando," a heartbreaking ballad of Third World worker oppression, was included on David Byrne's The Soul of Black Peru compilation. Since the Byrne compilation, she has toured the United States several times and released several albums, including an eponymously titled solo album on Byrne's Luaka...
Biografía completa
Lamento Negro, Susana Baca
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