Long before David Byrne introduced the English-speaking world to Susana Baca and the Afro-Peruvian songbook, the Lima-based folkloric troupe Perú Negro was working assiduously to preserve the cultural and musical heritage of Peru’s little-known African population.  Founded in 1969 by percussionist Ronaldo Campos, the group is an institution in Peru – and one of the primary sources that Baca herself used to study her own culture.  Though Campos died in 2001, his son Rony has taken over as bandleader and his family carries on his musical legacy; continuing to tour and release albums both at home and abroad.  Jogorio, which translates as “a state of celebratory frenzy” is Perú Negro’s second release after Campos’ death.  The album has a carnivalesque feel, not dissimilar to the group’s live performances, where folkloric dances sometimes take precedence over the music.  Still, there’s enough grit and musical muscle to make it a rewarding listening experience; and the lineup of guitars, violins, flute, call-and-response vocals and a unique battery of Afro-Peruvian percussion instruments (cajon, batajón, and, quite literally, an ass’s jawbone) give the ensemble real firepower to tackle such hard-charging tracks as “Afro” and “Taita Guaranguito.”  The group also takes on the political and social ramifications of the legacy of slavery and colonialism in Peru on tracks such as “Toro Mata” and the poem “De Espana” while the traditional Christmas song “Villancico Negro” provides a sweet counterpoint with its children’s chorus.     –TP