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CD Review
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Afropop Worldwide, CD Review >>
Creating what she calls an album of “lullabies to myself,” Cape Verdean native Sara Tavares relies upon artistic fuel to formulate her identity—an endless process of addition and subtraction, as she’s learned. Left by her parents early in youth to be raised by a Portuguese woman, Tavares relates her sound to the many Africans that have been globally dispersed and dispensed over the last few hundred years, be it by slavery, soul seeking or sonic exploration. Her sound capitulates to this effect; Balancê is an exceptional gathering of numerous and diverse influences, tied together by beautiful vocals and guitar work.
Tavares offers an incredible range throughout Balancê (pronounced bal-on-SAY), from lush balladry to upbeat styles informed by Afrobeat, Afropop and Angolan semba. When soft, her voice penetrates with emotion. “Ess Amor,” addressing the despair of love, features a gorgeous guitar line by Tavares and guest Hermani Almeida. The addition of a diatonic accordion by Artur Fernandes adds a unique touch of of Lisbon melancholia. Another lush treatment, this time on the soulful “Dam Bô,” features echoing guitar effects as well as Tavares keeping the downbeat lucid with percussive rain sticks, shekere and goat nails. “Guisa,” the record’s quietest track, is stunning in simplicity.
And yet, for all this quietude, Tavares loves to turn it up. Most of Balancê relies on the groove, jumpstarted by the opening title track. The album’s most melodic and catchy cut, this song celebrates freedom and dancing—two things Tavares equates as one. Her life, and the existence of globetrotting pan-Africans like herself, is implied in the title. A play on the Portuguese slang meaning “swing” and a Lusophone African headnod, she employs the word as an overriding concept of the album in finding a medium between seeming opposites. Her music resides in that swing and hangs between the deeply emotional and outwardly expressive.
There are so many musical highlights on Balancê it’s nearly boggling to comprehend the care spent crafting such a work: the udo drums that add a watery feel to an upbeat Bom Feeling,” the Cesaria Evora-invoked nuances of “Planeta Sukri” and accelerated guitar picking of “Novidadi” all swirl and mesh playfully. Tavares’ lyrical dexterity, ranging from Portuguese and Angolan slang, English and Cape Verdean, remain the center point. By keeping true to that balance, she extends in all directions without boundaries.
by: Derek Beres 04/06/06 >> go there
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