Lura
The Triple Door,
Seattle, Washington
January 31, 2006

Despite blusterous weather, Portuguese-Cape Verdean vocalist, Lura and her quintet packed The Triple Door. Lura who wore a charming white dress with multicolored fringe and danced barefoot in a wild African diva fashion easily seduced the audience. Despite her small frame, her powerful presence was felt the moment she danced upon the stage and belted out her first song, "Abanka Assi Go." I was immediately captivated by her vocal talent and her magnetism. Her dancing could be compared to that of a Sufi whirling dervish in that she anchored spirit into her body and many times she appeared to be in an ecstatic world all her own.

I say whirling dervish, but one that dances barefoot, arms swinging like propellers at times, sways hips and finds pleasure in her body and sensuality. She also wore permanent smile that beamed across the venue. You would have had to be blind to miss it and even then, you would still have felt the joy that derived from her sensual vocals. At times she would extend one her arms in front of her as if she was dancing with an imaginary partner, but when she sang with full gusto, she sung directly to the audience who in turn responded with hearty applause and a few hoots.

Backed by pianist António de Jesus Santos Vieira, percussionist Paulino Baptista Nunes de Pina, bassist Lúcio Hilárui Vieira, guitarist Aurélio Fialho Borges dos Santos and drummer Carlos Alberto Paris Morais, Lura introduced us to the batuku and funana styles of the Cape Verdean island, Santiago (one of ten islands on the archipelago). By the time the band performed their 3rd song, "Vasulina," Lura had secured a place in our hearts. A little later in the set, she pulled out the song, Raboita R. Manel, which reflects on the women's revolution of 1910 that took place in her motherland, the island of Santiago.

On this song, Lura sat in a chair and transformed folded clothing into a percussion instrument which she played held between her legs. She was beating the batuka rhythm in the same manner that women singers from Santiago beat batuku rhythm on folded stacks of clothing, held by their knees. Normally, this type of music would be performed by a group of women, but Lura pulled off the solo version with aplomb. She improvised and used what was at hand, something she does quite well.

The slow aching ballad, Es Bida was performed only with Aurélio's accompaniment on acoustic guitar. On this musical gem, Lura demonstrated her ability to handle deeply emotional songs and in a manner that rivals Portugal's fado singers, especially the younger generation that has recently hit the radio airwaves. In any case, a native to Portugal's Cape Verdean community, Lura would be no stranger to fados. She possesses an emotional palette that travels from overabundant joy to earnest sadness and she switched moods in a blink of an eye.

Other musical highlights of the hour and half set, were the Brazilian samba, "Camim Di Bo Sorrise," in which pianist António demonstrated his Latin jazz prowess and the other musicians moved into the spotlight as well. Na Ri Na was another song performed with body and spirit with some wild conga line-rumba rhythms leading to ecstasy. As the evening wore on and the venue heated up, the musicians performed phenomenal solos, an audio explosion on the drum kit, conga beats, nimble piano, warm bass and shimmering guitar. Lura showed her deep appreciation the musical gifts and generosity of her fellow bandmates as well as, with her affectionate audience.

Lura and her band delivered an electrifying performance filled to the brim with Afro-Latin rhythms, stunning vocals and tight arrangements that seemed effortless on the musicians' part. Here's hoping Lura and her quintet return to Seattle in the near future. We should be so fortunate.

by Patricia Herlevi-Balquin

[Buy her most recent CD Di Korpu Ku Alma (Of Body and Soul)].