Lura — Herança (16 Oct. 2015) ♣ Another quality album from Lura — so pleased to see her collaborating with the likes of Vasconcelos ...
Born: 1975 in Lisbon, Portugal
Location: Praia, São Tiago and Santo Antão , Cape Verde Islands
Styles: Worldbeat, African Traditions, Cape Verdean, West African
Album release: 16 Oct. 2015
Record Label: LusAfrica
01 Sabi di Más 4:20
02 Somada 4:08
03 Di Undi Kim Bem 4:26
04 Mantenha Cudado 3:44
05 Nhu Santiagu (feat. Elida Almeida) 3:53
06 Ness Tempo di Nha Bidjissa 4:20
07 Ambienti Más Seletu 5:25
08 Herança (feat. Naná Vasconcelos) 7:01
09 Barco di Papel (feat. Richard Bona) 4:51
10 X da Questao 3:53
11 Sema Lopi 4:30
12 Maria di Lida 3:49
13 Goré 4:06
14 Cidade Velha 3:55
♣ Lura 1
♣ Kaka Barbosa 2
♣ Lura / Abraão Vicente 3
♣ Mario Lucio 4, 8, 10, 13, 14
♣ Elida Almeida / Hernani Almeida 5
♣ Manuel Lopes Andrade 6
♣ José Fernández Diaz 7
♣ Richard Bona / Lura 9
♣ Sema Lopi 11
♣ Jorge Tavares Silva 12
♣ Product Description
♣ Lura’s back! Vibrant, tremendously danceable and so very Cape–Verdean, her new album focuses on the archipelago’s energizing up–tempo funana beat with songs that include Maria di Lida, Sabi di Más and Ness Tempo di Nha Bidjissa. It also features contributions from 3 remarkable guests: Brazilian poet and musician Naná Vasconcelos on title track Herança; Richard Bona on Barca di Papel (which he co–wrote with Lura); and rising Cape–Verdean music star Elida Almeida on Nhu Santiagu. Herança is a golden opportunity to re–explore the rich culture of Cape Verde and its people, traditions and music in the company of the most melodious, charismatic singer of an entire generation of Cape–Verdean artists. Herança (Heritage) perfectly follows the natural progression of Lura’s discography after Di Korpu ku Alma (2004), M’Bem di Fora (2006) and Eclipse (2009), as well as her Best of (2010) parenthesis, where she notably duetted with Cesaria Evora on “Moda Bô”. Reflecting Lura’s constant return to her roots, the latest opus plunges us us into the vital essence of the singer’s identity. ♣ The album explores the most sublime, sacred facets of batuque and funaná as Lura brings her own special universality to those traditional Cape–Verdean beats. Herança gives us a chance to reconnect with the intensity of Cape Verde and its people, traditions and music, all reflected in the art of the most melodious, charismatic singer of an entire generation of Cape–Verdean performers. Lura’s singing and each of the album’s tracks remind us just how the essence of multiculturalism and traditional Creole music have given rise to a universal vocal genre at the heart of Africa’s best–kept secret: Cape Verde.
Artist Biography by William Ruhlmann
♣ Portuguese singer Lura was born Maria de Lurdes Pina Assunago in Lisbon in 1975 as the daughter of parents from the Cape Verde islands of São Tiago and Santo Antão, and raised in the Creole section of the city. As a teenager, she pursued a career in sports education, but she left that behind when she was hired as a dancer and backup singer for Juka. After a duet with Bonga and partnerships with Tito Paris and Paulino Vieira, she was signed as a solo artist to Lusafrica. Although an album called In Love was released in 2002, she describes her 2004 disc, Di Korpu Ku Alma, as her first “proper” album. It was followed in 2006 by M’bem di Fora (I Come from Far Away), which she followed with a world tour. Four Quarters Entertainment licensed and released her next Lusafrica album, Eclipse, in North America on June 16, 2009, and she toured the U.S. that July.
♣ While Mayra Andrade, Lura’s compatriot, has been steering away from traditional Cape Verdean sounds, husky–voiced Lura does the opposite on Herança. Sort of. The album title translates as ‘Heritage’. And with a string of delightful upbeat funanas (such as the opener ‘Sabi di Más’ and the jaunty ‘Ness Tempo di Nha Bidjissa’), Lura indeed moves closer to her roots back on Praia, Cape Verde’s capital city. But she doesn’t abandon Lisbon. Cape Verde is revisited and reinvented with precise, jazzy production, a crew of fine session musicians and a repertoire that includes a mixed bag of melancholic covers and original songs.
♣ Standards like Kaka Barbosa’s ‘Maria di Lida’ and ‘Somada’ are given a contemporary twist and smoothed by well–oiled production.
♣ Mario Lucio’s ‘Goré’ is rendered almost East African with jangly guitars and a springy, percussive bass, which will have you up and dancing. New tracks like ‘Di Undi Kim Bem’ are an enchanting mix of modern sound and age–old Cape Verdean melancholy. The title–track features an eerie counterpoint of distant percussion and assorted noises by Brazilian master Naná Vasconcelos to offset Lura’s portentous vocal delivery. And fun while the funanas are, it’s these newer numbers that really make the CD something special.