The Exploring series allows you to travel with me as I explore various sides of Latin Jazz that are still fairly new to me. I’ve studied and performed Cuban-based Latin Jazz quite a bit, and to a lesser degree, I’ve been involved with Brazilian influenced Latin Jazz. Today’s modern Latin Jazz world encompasses much more than the music of Cuba and Brazil though, and I feel a bit behind the times. I encourage you to join me as I broaden my horizons and learn more about a variety of Latin Jazz styles.

Investigating Latin Jazz requires a major study of the Latin influence; most often, this requires musicians to study both folkloric and dance music from South America and the Caribbean. Musicians interested in Afro-Cuban Jazz seek an understanding of rumba, santeria music, and danzón, leading them to groups such as Muñequitos de Mantanzas, Los Papines, and Grupo Afro-Cuba. At the same time, they will find modern Cuban charangas such as Los Van Van and Charanga Habanera or Cuban timba from NG La Banda. Fans of Puerto Rican Jazz need to pursue Bomba and Plena through groups like the Cespedes family and Los Pleneros de 21. They’ll also need a healthy dose of Nuyorican Salsa from people like Eddie Palmieri, Ray Barretto, Willie Colon, and Hector LaVoe. The list continues in a variety of directions, but the point stands clearly - the “Latin” portion of Latin Jazz has roots in folkloric and dance music; those roots need to be studied.

Afro-Peruvian Jazz finds its foundation in traditional Peruvian music from the country’s central and northern coasts. Rhythms such as festejo, lando, vals, and marinera have long standing traditions in Peru. Many of these styles have been documented by well-known Peruvian artists. In order to perform Afro-Peruvian Jazz, these musicians need attention and their recordings need to be studied. The Latin Jazz world doesn’t immediately recognize these names and faces in the same way as salsa artists, and in many ways, they have been ignored too long. So this week we explore two major names in Afro-Peruvian music, hoping to build a familiar connection with this vital Latin style.

Susana Baca
Susana Baca grew up in the Lima neighborhood of Chorillos, immersed in music. Although not professional musicians, her mother shared her passion for singing and her father played guitar. She soaked in local Peruvian music and heard recordings of popular Cuban artists like Beny More. She faced the deeply engrained cultural resistance against women performing music in Peru, but persevered to break this unfair stigma. In many ways, Baca changed both the musical and social landscapes of Peru’s society.

At a young age, she discovered her passion for Peru’s folkloric music. As she began to pursue her interest, she discovered a lack of Afro-Peruvian recordings and a largely oral history. Baca committed herself to the preservation of traditional music, receiving research grants from Peru’s Institute of Modern Art and the National Institute of Peruvian Culture. She traveled throughout Peru and parts of Bolivia, collecting songs and history. Along with her husband, Baca established the Center for Black Continuum, an organization dedicated to preserving Peru’s African culture.

Already an established performer in Peru, Baca’s career reached worldwide status in 1995 with the release of The Soul of Black Peru. A compilation of contemporary Afro-Peruvian artists, the album featured Baca performing “Maria Lando,” a standout hit. Since then, Baca has produced a string of recordings, including Espíritu Vivo, Lamento Negro, Travesías, and the self-titled Susana Baca. Her music combines traditional folkloric styles and contemporary ideas, bridging the gap between culture and innovation. She has indulged her tradition by composing a number of original pieces, working in collaboration on lyrics with some of South America’s most important poets. Baca has become an international voice for her music and culture, spreading the importance of Afro-Peruvian music to the masses.

Eva Ayllón
Born María Angélica Ayllón Urbina on February 6, 1956, Ayllón took the nickname “Eva” from her grandmother. She began studying music young, receiving regular lessons from her grandmother starting when she turned three. She took every opportunity to perform, singing in school competitions and eventually appearing on local radio and television programs. By the early 1970s, she fronted several Peruvian groups including Rinconcito Monsefuano, La peña de los Ugarte, and Los Mundialistas o Callejón. She served as the vocalist for Los Kipus from 1973 – 1975, raising her public profile.

Ayllón’s career soon gained momentum as she left Los Kipus and began work as a solo artist. She retained a connection to traditional Afro-Peruvian roots, and the public began to recognize her as a leading proponent of Musica Criolla. In 1979, Ayllón toured Europe, building a reputation across the international community. Ayllón recorded consistently over the next 15 years, creating a total of 20 albums.

Although widely known as one of Peru’s most important musicians, her career hit full stride with her appearance on The Soul of Black Peru performing “Azuca De Cana (Sugarcane).” Ayllón rode a surge of popularity in both the U.S. and international markets, releasing Musica Negra, Afro-Peruvian Legend, and Eva! Leyenda Peruana.
Now residing in the United States, she continues to tour and record Peruvian music, continuing to spread her roots around the world.

A number of other important artists exist, such as Peru Negro, and I’ll be covering them in future Exploring posts. At the same time, I’m sure there are names and faces that I have yet to uncover – that’s where I need your help!

There’s got to be quite a few people out there with large collections of Afro-Peruvian music. Who should we be listening to? What are the best albums? This is the information that we all need – LEAVE A COMMENT and help us out! I think many of us would like to dig deeper here!

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