Listening to Dayme Arocena’s music for the very first time, you are overwhelmed by the power of her voice. The sound seems to resonate in a compelling combination between prayers to the Orishas, gods from the Cuban religion Santeria, the fiery passion of a gospel choir and the vocal range of an experienced jazz or soul singer. In Sonocardiogram, all three of these elements can clearly be heard. The opening track, Nangareo, is reminiscent of an offering ceremony to Olorun, the supreme God in Yoruba mythology, and the next three tracks are named after orishas: Oyá, the Goddess of death and rebirth, Oshún, the Goddess of river water and beauty, and Yemayá, the Goddess of women and motherhood. Dayme Arocena is a famous choir director and although her voice alone already seems to encompass all the vocal ranges within a choir, she has also invited other singers who share her religion to join her on this album. The arrangements by pianist Jorge Luis Lagarza Pérez are perfect examples of contemporary Cuban jazz. Midway through Sonocardiogram, the sacred drums battle it out to conclude the ceremony in Interludio. In contrast, the second part of the album is more profane. Although the drums rise up here and there the ballads dominate, the vocals are reminiscent of American soul and the arrangements are funkier. With the help of English DJ and fan of Cuban culture Gilles Peterson, whose record label Brownswood released this album, Dayme Arocena’s sound remains closely connected to her roots and beliefs, showcasing her unmistakeable passion for music that touches the mind, body and soul. © Benjamin MiNiMuM/Qobuz