The slow, slinky first moments of the opening “Negra Presuntuosa” (“Presumptuous Black Lady”) prime you for an album of similar intent: to expose Western ears to the melodic, if not downright erotic, nature of Eva Ayllon’s lando. The style being a musical meeting point for Africans and Spaniards on Peru’s Pacific coast, Ayllon has made her native mark releasing over 20 records in three decades of the country’s folk sounds. And just as her buoyant tones emit an air of well-worn confidence, equal is her prowess: that opening number is throwback to lando’s roots with suggestivbe pelvic movements and carefree social romps to one-up the ruling class. Eva! Leyenda Pertuana – her first U.S.-produced and released full-length album – is filled with such playfulness. More important is the incredible musicality built into every track. This “Queen of Ladno” is rivaled only by her rhythmic counterparts and, like any good band, they complement instead of compete. Moving through the aforementioned lando, as well as the sounds of festejo and the vals, Ayllon’s life mission is the preservation of Peru’s folk music, a platform well fought by the likes of Susana Baca and Peru Negro. Like those performers, Ayllon’s instrumentalists construct tightly knit percussion (iya, itotele and okonkolo), as on the gorgeous “Raices del Festejo-le dije a Papa” and bass-led “Cardo o Ceniza,” as well as Cuban and flamenco guitar idioms highlighting the slower “Cuando llora mi Guitarra.” During a 2003 performance in Los Angeles Ayllon reportedly told the audience “I’m not going to stop what I’m doing until every American has heard these songs.” While a tall order for any musician, one thing is certain: no American would possibly complain about having this added to their collection.

-DB