Em Africa ao Vivo

Despite a career stretching back to the mid-80s, this is among the first of singer-songwriter and percussionist Mart’na’lia’s albums to see a European release. And, in fact, this ‘Live in Africa’ CD-DVD package dates back to late last decade – with liner notes and footage contextualising the election of Barack Obama. Yet while she may be a stranger to UK distribution, as daughter of legendary Rio sambista and veteran Communist activist, Martinho da Vila, she’s no stranger to Lusophone Africa, having accompanied her father to Angola and Mozambique when they were still embroiled in civil war. Anyone expecting a raw Afro-Brazilian fusion will be disappointed, however; while some of her samba excursions – notably the snare-heavy ‘Kizomba, Festa da Raça’ and cymbal-hammering, rock-flirting ‘Mulheres’ – work up a sweat, Mart’na’lia is essentially a blues and funk-tinged roots-pop singer who has more than a little in common with Cape Verde’s current crop of ex-pat divas. She sounds perfectly at home putting a samba-lite spin on Bobby McFerrin’s ‘Don’t Worry, Be Happy’. Yet when she does leave her comfort zone, the results are compelling; though it’s ground already covered by her father, the medley of Angolan touchstone ‘Muxima’ and early 70s Bonga classic ‘Muadiakime’ invests both her trademark rasp and her backing band with a gravity and passion. Save for a McFerrin-esque cover of the Toquinho and Vínfcius de Moraes standard ‘A Tonga da Mironga do Kabulete, the accompanying DVD covers pretty much the same tracklisting, as Mart’na’lia, cymbals jacked-up beside her, waves her drumstick like a magic wand over a placid but appreciative Luanda crowd. Bonus features include fascinating footage from the seldom filmed streets and beaches of Luanda and Maputo, and a wonderful al fresco acoustic session with the likes of Mayra Andrade, Carlinhos Brown and her dad Martinho. Besides singing, each holds forth on the links between Brazil and Africa. On ‘Semba dos Ancestrais’, Mart’na’lia brings full circle a tune penned by her dad and Rosinha de Valença, and a rhythm that – like Mart’na’lia herself – has been forged by more than a few Atlantic crossings.