Aurelio: Laru Beya (Ambiance/Sub Pop)
By Lew Herman
January 26th, 2011 at 2:12 pm

This is Garifuna music done right – tastefully updated without losing any soul or substance. Recorded mostly at a beachfront house on the Honduran coast, and done almost entirely in the Garifuna language, the music and emotion on Laru Beya travel beyond mere borders. The excellent liner notes clearly explain all the songs, so you won’t need a lyric sheet as the meanings surface surprisingly well. Songs like “Ineweyu,” “Nuwaruguma,” “Ereba” and the title track stand out, but “Wamada,” the homage to Aurelio Martinez’s recently deceased mentor, Andy Palacio, is a searing, emotional experience.

There are many superlatives here; the song selection and intuitive sequence, the arrangements, vocals, harmonies, backup singers, African guest musicians, horns, massive percussion and finally, the crystal-clear, clever production. That comes courtesy of Belizean Ivan Duran, who lends a masterful touch and tasteful guitar work, creating a lush, gorgeous production that could be the Garifuna breakthrough a la Buena Vista Social Club. And the rhythms; you get your congas, maracas, shakers, tama drums, Garifuna drums, saber drum, turtle shells, calabash, bongos, conch shells, and of course, the jawbone of an ass. Extra texture on every cut.

Unlike the Buena Vista project, Laru Beya is not a revival of older musicians but a rebirth of the relatively submerged musical traditions of the Garifuna people of Central America’s Mosquito Coast – a population stretching from Belize to Honduras and Nicaragua. It’s also a testament and memorial to the originator of this material, Palacio, who tragically died a few years ago. It was his quest to revive and record the musical traditions of the Garifuna, and his recording, Watina (Cumbancha/Stonetree Records), was the first groundbreaker. In Laru Beya, Aurelio takes it a step further and perhaps into more international prominence.

Clearly a labor of love, the music also unites the singer and song interpreter with great local musicians. While most of it was done in Hondoras and nearby Belize, additional tracks were recorded in Senegal with African guests including Youssou N’Dour.