Opening with a stentorian spoken word ode to Elegua the trickster, the orisha saint who opens the way, this superb debut by New York-based scholar, composer and master percussionist Diáz (Pedrito Martinez, Chano Pozo, Mongo Santamaria) has all the feel of a vintage find. It is, without doubt, an ethnomusicological treasure, even a work of art. Recordings of Lucumi ceremonies – or if you like, Santeria, the Afro-Cuban religion informed by the Yoruba people of Nigeria – very often fail to capture the intense spirituality that accompanies the drumming and chanting. This one, which peppers Harlem Renaissance-style oracle poetry (by way of introductions to deities including Oshún, Shangó and Yemayá) between the percussive tracks, features a female choir whose superb harmonies blend seamlessly with the bata; soloists send their voices soaring over rhythmic patterns by Diáz and his group, most notably Nina Rodriguez on the soulful ‘Obatalá’. The effortless tonal language and cadence of the sacred batá is as vital as the lyrics. Holistic, authentic, moving.