Both Brazil and Peru have musical traditions that blend African and Iberian influences, but Brazil's has been more robust, rhythmic and just plain louder. In the 18th century, Peru's black slaves were banned from playing drums, and so began to bang out rhythms with wooden boxes, clay pots and even donkey jawbones. This gentler version of the Afro-Latin sound gradually faded until a revival that began in the 1950s. Founded in 1969, Peru Negro wasn't in the vanguard of the comeback, but it has become one of its mainstays. Yet the music and dance troupe is little known in the United States, where torch singer Susana Baca is the most celebrated exponent of Afro-Peruvian music.

The group's second North American release, "Jolgorio," begins with the easygoing "Como Cantan, Como Bailan los Negros," whose flute melody has an Andean feel. The syncopated percussion, however, shows the influence of Cuban drummer Jesus Nicasio, who first performed in Peru 50 years ago. His grandson, William "Macarito" Nicasio, is a member of Peru Negro; his congas drive such infectious tunes as "Taita Guaranguito" and the all-percussion "Afro." Add lively unison and call-and-response vocals to the bustling beats, and the result is the celebratory sound of such tunes as "Carnaval Negro" and "Son de los Diablos," which sound as West African as any music ever made in a Pacific Rim nation.

-- Mark Jenkins

Appearing Tuesday at the Kennedy Center. * To hear a free Sound Bite from Peru Negro, call Post-Haste at 202-334-9000 and press 8131. (Prince William residents, call 703-690-4110.)