Nu monda

Two years after Tcheka’s first recorded foray into the “batuque” style associated with his island of Santiago, the 32-year-old has released a refreshing and original album, bizarrely entitled “Uprooting weeds”. This is perhaps a metaphor for his desire to modernise a beat that Santiago invented thanks to its womenfolk. Back in the dark days of colonial oppression Cape Verdian women on this most African of islands circumvented a ban on percussive instruments by beating out rhythms on bundles of piled loincloths they held between their legs. These “tchabeta” cloth drums produced a surprising variety of sounds that accompanied their “finançon” songs relating the day-to-day events in the village.

Tcheka has taken the songs that lulled his childhood and has transformed them into compelling acoustic masterpieces. Adapting the rhythms to his guitar, he composes texts that relate the barren and spectacular scenery of his red island, the painful memories of slavery, marauding devils and false friends, as well as delicate kisses that beget life. We were already aware of Tcheka’s flowing pen thanks to his contributions to fellow Cape Verdian singer Lura, (in her latest album he contributed both the lively opening track “Tabanka Assigo” and the sweeping finale “Man’ba des bes kumida dâ”). In his second solo album the engaging performer enriches his silky voice by adding several registers, sometimes within the same song. It gives extra potency to these fertile texts and songs like “Kre ka nha” will remind many of Cameroonian crooner Richard Bona.

In many ways Tcheka’s music brings his native Santiago closer to the mainland. This is the largest island in the archipelago yet its cultural heritage has often been overshadowed by the “morna” style that has dominated Cape Verde’s exports. The 12 tracks of “Nu monda” restitute the central role of “batuque” but also explore the “tabanka” carnival beat and the “talulu” sounds that echo through the island of Fogo during the colourful events around All Saints’ Day. These were culled by his experiences at the side of his violinist father Nho Raul Andrade who would drag many of his 11 children along with him on his rounds of island balls and fairs.

Tcheka took to the guitar at 14 years old and today he continues to ally slick solos to his rousing voice. His is ably shouldered by the virtuoso guitar plucking of Hernani Almeida (already noted for his impact on Bau’s most recent releases), the subtle percussions of Paul Ribeiro and bass guitarist Kizo Oliveira. This promising second album is supplemented by a DVD concert recorded in June 2004. The live take reflects the endearing stage presence of a Tcheka that seems to have a fertile music path stretching out before him.

November 2005

Daniel Brown

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