This is one of the most exquisite recordings of 2012 and describes the uniqueness of Puerto Rico’s bomba y plena music. The record is a seamless series of charts that recreate the historicity of bomba and it is also a reincarnation of the call and response between drum and dancer both of whom were traditionally African slaves brought in to Puerto Rico by the Spanish colonialists and put to work in sugarcane fields in the little island. So vivid is the recording; so splendid in its depiction of the drama and colour and the depiction of glistening glorious dark skin and garments that turn dripping wet as the frenzy of the singers and dancers turns more feverish at the end of a day in the sun, that the charts appear both visual and sonic.

The musical topography of the record is both ancient and yet modern. This is music that originally came from Western Africa in the heart and soul of frightened slaves. Alone in a strange land these men and women turned to the only thing they knew best: honouring their old gods and new ones. Unable or probably banned from re-creating the drums of Africa, the men and women invented the fat and resonant barril which was covered by animal skins stretch tight to produce a characteristic resonant tone. When slated askance as barril primo and buleador was struck by gnarled hands, and combined with voices raised to the sky this provoked dancers to twirl and swing with body and soul afire. And this is exactly what has been captured by the vocalists Tony Gonzalez, Kristy Mangual, Andy Montañéz, Tony Mapayé and Luis Rosa. Together with a chorus that is majestically attuned to the swing of the dancing vocalists and the drummers led by Otoquí Reyes, the music rises and falls as it does in the mystical and dusty sugarcane fields of Puerto Rico.

Just as the voices create sheets of sound that pays homage to the old country and brings to life the fears and joys of the soul of each musician the drummers on this record capture a more primal sound: that of the beating heart. This is what first propelled this hypnotic music into a realm that is both spiritual as well as devilishly temporal. Otoquí Reyes is magnificent as the barril primo, or the lead drummer. His sense of how the heart communicates with the soul is magical. This is what drives his unique relationship with the singers. Each slap of fingers or palm on the skin of the drum is both mysterious and mystic. Otoquí Reyes brokers as sound that is sharp and resonant and nestles cheek-by-jowl with his spiritual son and co-leader of the percussion section, Angel Reyes, also barril primo. Otoquí and Angel Reyes combine to lure barril buleador, Ramón Vázquez as well as percussionist José Alicea into a place that is fraught with dramatic tension as well as ascending joy. It is this dynamism of the drummers that elevates the fervour of the chorus to a mystical level. And this is what makes Agua del Sol so magical a record—one of the very best works of music in 2012—both in terms of its nod to history and as a work of contemporary music.

Tracks: Saludo Al Sol; Ven Ven; Te Invito; Ohami; Morenita; Agua Del Sol; No Me Dejes Solo; Orgulloso; Eco; Loren; Bandido; En La Vecinda; Te Invito (Jazz Version).

Personnel: Otoquí Reyes: vocals, barril primo, director; Angel Reyes: barril primo, mentor; Ramón Vázquez: barril buleador, coro; José Alicea: cuás, coro; Felix “Papo” Aguilú: barril buleador, coro; Quiqui Hernández: coro; Minerva Rosa: coro; Naomi Vázquez: coro, Alondra Vázquez: coro; Tony Gonzalez: vocal (1); electronics; Kristy Mangual: vocal (4); Andy Montañéz: vocal (6); Tony Mapayé: vocal (10); Luis Rosa: vocal, arrangement (13) Unknown horns, piano, bass and other percussion.