With its Cuban-inspired arrangements, Djam Odja, the frantic opening coladeira isn’t an accurate indicator of the rest of this Kebrada. Elida Almeida’s second album, which pays homage, with its title, to the village where she was born on Santiago Island, includes many styles and influences. The listener is yet again invited to stretch their legs, here on a funaná (Sapatina or Grogu Kaba) or there on a tabanka (Bersu d’Oru), but they’re also called to let himself be carried away by the thousand nuances of the young Cape Verdean singer’s voice. Going from a children’s register to hoarse and sensual accents on the same track Nha Raina, her singing knows how to be limpid and dreamy on Forti Doro, whose arrangements are made more beautiful by Vincent Segal’s cello, or on Ilia Mundu, which houses some of the last accordion notes from the late Régis Gizavo. It’s an endearing disc that reinforces the credibility of one of Cesaria Evora’s most convincing heirs. © BM/Qobuz