Tania Libertad lives in Mexico where she has based her successful career as a singer in many Latin styles for some four decades. But she was born in Peru, and on this adventurous set of fourteen tracks, she digs into Afro-Peruvian music with gusto and wisdom. The wisdom shows in Libertad's use of African musicians on the project. Senegalese percussionists add the satisfying crack of sabar drums to a number of tracks here, and Malagasy accordionist Regis Gisavo weaves a melodious layer of sound into the racing 12/8 rhythm of "No Me Cumben (I won't marry a black man)."

Libertad's addition to the small but growing ranks of Afro-Peruvian releases is especially welcome for its range and variety. She covers Carlos Soto de la Colina's "No Valentin," a poignant complaint from a woman against a man who beats her. Afro-Peruvian diva Susana Baca has made this song something of an anthem, recording it twice in recent years, but Libertad's version is distinctive for its driving energy, its use of salsa-like piano and snapping Senegalese drums. "Júrame" delivers the slow, pendulous rhythm of an Afro-Peruvian ballad, featuring nylon-string guitar and box percussion (cajon) in the classic mode.

But on songs like "Eres Chiquita e Bonita (You are tiny and pretty)" and "Con Su Toque de Violin (With a touch of his violin)," Libertad works with fast, folksy rhythms quite unlike anything in Baca's work. Two of the most powerful songs here find Libertad's voice accompanied only by spare percussion and vocal harmony. The result suggests African religious music--embraced overtly in the more orchestrated, percussion-driven number "Elegua"--but there's also an intriguing moment of jazz balladry in these unadorned performances. Libertad can coo with the melancholy purity of a fado singer, and she sometimes reaches for operatic crescendos--she has actually released an album of arias. At the same time, she sounds convincing on the simpler, folksier material. Libertad's long overdue American debut was produced with José da Silva, a major force behind the career of Cape Verdian superstar Cesaria Evora. As such, Costa Negra is both a delightful discovery, and a promising new beginning for this Peruvian veteran.

Contributed by: Banning Eyre for www.afropop.org