n 1995, David Byrne's Luka Bop label released a compilation entitled Afro-Peruvian Classics: The Soul of Black Peru. The first track on the album, "Maria Lando," is a ballad recounting the daily suffering of a black working woman. It's a sad song, yes, but the artist, Susana Baca, sings this ballad not as a cry of despair but a cry of joy—a celebration of the woman, not a lament. That song put Susana Baca on the world music map. Since then, she has released a number of very popular albums, most on Luka Bop, and all of incredibly high quality. She's been lucky to work closely with a tight group of artists, meaning that her work is remarkably consistent and remarkably polished. Now, ten or so years later, here's a best of album that gathers together all her best songs, from "Maria Lando" to 2003's "Afro-Blue / Zum Zum." If you haven't heard Baca, then I can think of no better place to start.

Baca's music is usually described (in the US and Europe) as "Afro-Peruvian." Now, I'm no expert on Peruvian music, and I'm even less of an expert on Latin music in general, but I believe that "Afro-Peruvian"—at least, the kind performed by Baca—focuses on traditional musical styles originally created by Peru's black slave population, mixing African and Spanish influences to create a relatively unique musical style that focuses on call and response, emotional ballads, and complex rhythms. Musically, this means that the music employs many of the same instruments found in other Latin or African-influenced musics, like guitar, bass, and drum. In other words, the music doesn't sound too different from Cuban or Spanish music. But there are differences. Not only are the rhythms incredibly complex, but they generally revolve around a cajón, or wooden box, which is a very versatile instrument common in many polyrhythmic musical styles, including Afro-Cuban music. Further, the songs themselves are old and steeped in Peru's past. Apparently, Baca is an ethnomusicologist of sorts, having traveled all across Peru to learn the songs performed by former slaves and still remembered by their descendants. While her songs are a mix of the traditional and contemporary, they all share a deep respect for her culture and her community. In recent years, she's taken this love beyond her songs; she and her husband created an institute for the study of African Peruvian musical and cultural heritage, in order to inspire other Afro-Peruvians to tap into this rich repository of knowledge.

All this is interesting, of course; who wouldn't applaud an effort to further cultural awareness of any kind? Luckily, however, the key to Baca is and always has been her songs. One thing you can say about the woman: she has range. The Best of Susana Baca contains great dance songs ("Afro-Blue / Zum Zum"), great ballads ("De los Amores"), great narratives (the aforementioned "Maria Lando"), and even great pop songs ("Valentin"). She's an incredible vocalist, able to emit the most nuanced, complex emotions, from sadness ("Maria Lando") to fear ("Valentin") to joy and happiness. However, the key emotion in her songs is sadness, and she sings the plight of impoverished people as well as anyone. However, as with "Maria Lando," the beauty and the hope in her voice balance the sadness she sings about, transforming songs of despair into songs of hope. Further, that hope is universal. The only Spanish I know is donde es los banos, but a measley language barrier doesn't prevent me from responding to Baca's music. She is a uniquely talented artist who represents the black people (specifically, the black women) of Peru, yet her songs inspire and entertain anyone willing to listen. So get willing.