A killer contemporary set from Gyedu Blay Ambolley – one of the Afro Funk heroes of the 70s, still sounding fantastic after all these years! The album was all recorded at Ambolley's Simigiwa Studios in Ghana – and arrangements, instrumentation, and production are all in a very classic mode – with the leader on tenor and vocals, stretching out with this nicely raspy quality that's a great evolution in his sound – as if he's found a way to put even more feeling and experience into the sound that he gives us! The rest of the lineup features keyboards, trumpet, tenor, alto, guitar, and plenty of percussion – on titles that include "Black Woman", "I No Dey Talk I Do De Lie", "Ignorance", "Little Small Girl", "Sunkwa", "Who Go Pay", "Brokos", and "Who Made Your Body Like Dat". CD

A jazz record, but one with a vibe that's all its down – and a sound that definitely echoes some of the tropical elements hinted at in the title and on the cover! Laurent Bardainne is a saxophonist who blows with a really rich sound – nicely soulful, and with a raspy, laidback quality that's really seductive – set up here amidst a mix of acoustic and electric elements, including great percussion, occasional keyboards, and just the right electric basslines to trip things along in a sweet midtempo groove! The mix of jazz soloing and nods to global elements takes us back to similar French albums of the 80s – and most of the set is instrumental, although there are occasional vocals from guests, next to great use of outside sound recordings too. Titles include "Singing", "Eden", "We Try", "Serpent Kaa", "Gobules Rouges", "Dance For Eternity", "Welcome", and "Meilleur". (Jazz, Global Grooves) CD

A pretty wild album – and a really wonderful mixture of funky fusion and Spanish guitar, featuring tunes written by flamenco guitarist Sabicas, backed by arrangements handled by funky guitarist Joe Beck! The sound is pretty darn incredible – way better than you might think, and certainly well more than the sum of its parts. The bottom half of the record has a really strong rhythmic pulse, but it also allows plenty of room for virtuoso flights on guitar – both electric and acoustic coming together in a mad Spanish-styled take on 70s funk! The record's a truly unique effort, and sets a whole new standard for cultural crossover sessions of this type in the 70s. Titles include "Inca Song", "Handclaps", "Flamenco Rock", "Zapateado", and "Joe's Tune". (Jazz, Global Grooves) CD

A really unique project from Philippe Samiguel – recorded in Bamako, where Samiguel has worked as a producer for many years – during which time he's pulled together ideas from all sorts of different projects, and forged them into a new groove of his own! Samiguel's worked most famously with Samba Toure – who's here on the record alongside other artists who include Hugo Race, Mariam Kone, Mamadou Sidibe, and others – working on music that has roots in Malian blues, Tuareg guitar, and other west African modes – but which has a quality that's also very much all its own. There's an experimental nature to the project that takes us back to some of the best global experiments from the early days of the Crammed label – and titles include "Are U Satisfied", "The First Tone", "Minamba", "Heaven Sands", "Mad Girl Lament", "Quicksand Blues", and "Golden Cage". CD

The music of Lebanon never got much global exposure during the 70s – but it's clear that Ferkat Al Ard was bringing plenty of the globe's influences to play on this amazing record – mixing together bits of electric funk, Brazilian jazz, and soulful strings at a level that completely transcends the boundaries of language! The set's a bit like the classic self-titled set by Arthur Verocai from the 70s – music that's completely in a space that's all its own, and which has legendary properties, but also opens up to the listener with charms of its own that require no history or introduction at all – a set that's both personal and majestic at the same time, and which has charms that are impossible to put in words, but which grab you the moment you first give the set a listen. Titles include "Matar Naem", "Juma'A 6 Hziran", "Oghneya", "Matar Al Sabah", "Entazerni", and "Lahnon Lemra'Ati Wa Beladi". CD

A really cool hybrid of styles – reggae, but recorded in Libya – which makes for all sorts of twists and turns in the music that are nicely different from mainstream modes! The rhythms still have echoes of Kingston, but the vocals have a special sort of phrasing, and the keyboards often use these cool tones and chords that you'd never hear in Jamaica – and at times, there's more elements in the tunes that shift towards other Mid East styles as well. The whole thing's a really unusual batch of tracks – exactly the kind of music we love from the Habibi Funk label, served up on titles that include "Subhana", "Ya Ghalian", "Damek Majeb", "Ya Ghayeb", "Aziz W Adda", "Ana Middaee", and "La Ta'tather". CD

Wonderfully fuzzy work from Amanaz – one of the trippiest, headiest groups of the Zamrock scene of the 70s! The guitars here are very full and present – not at a hit you over the head jamming label, but with this rich sonic element that has lots of bassy undercurrents – at a level that makes the album a head-nodding gem all the way through – poised perfectly between some of the more psyche styles of the African scene of the time, and some of the more thoughtful singer-songwriter material. The group have a quality that's surprisingly deep – very soulful, and with a subtle power that comes through strongly – thanks to a mostly-English batch of lyrics (although a few tunes here are in their native Bemba.) No cuts are all-out funky, but all have this great slow-funk sort of charm – and titles include "I Am Very Far", "Sunday Morning", "Khala My Friend", "Green Apple", "Africa", "Making The Scene", "Easy Street", "Big Enough" and "Kale". 2CD package features a full bonus "reverb mix" of the album – even trippier! CD

With a record like this, it's hard to believe that Christian Scott started out in more standard jazz – as Chief Xian Atunde Adjuah is a very different artist altogether, one who wraps together worlds and eras of musical heritage – working here in a set that's very heavy on percussion, vocal refrains, and other elements you never would have heard in his earlier music! The leader works a whole host of percussion along with other members of the group, but also adds in some larger production elements too – always in a way that's nicely subtle, and preserves the acoustic energy at the core – yet which really enriches the proceedings too! The album's overflowing with righteous power – and titles include "On To New Orleans", "Bark Out Thunder Roar Out Lighting", "Xodokan Iko Hu Na Ney", "Trouble That Mornin", "Blood Calls Blood", "Ashe Chief Donald", "Golden Crown", and "Shallow Water". (Jazz, Global Grooves) CD

Maybe one of the warmest recordings we've ever heard from pianist Vijay Iyer – but that's maybe no surprise, as the session is graced with these sublime vocals from singer Arooj Aftab – and delivered in a style that's much more than standard jazz! Iyer plays Fender Rhodes and piano, and adds in a bit of electronics – while Shahzad Ismaily uses moog and a vintage Fender bass – all flowing effortlessly, while Aftab brings in these vocal moments that feel both ancient and yet have a sense of new global horizons too – recorded with just a touch of echo that might evoke vintage 4AD. Titles include "Sharabi", "Eyes Of The Endless", "Shadow Forces", "To Remain/To Return", and "Haseen Thi". CD

A legendary group from the 70s Nigerian scene – one who could be as trippy as they were funky – often in ways that had them using studio production to really get some cool effects from their vocals and guitar! There's a spacey edge to most of these tracks – one that comes through most strongly on the mellower moments – which include one or two slow-funk killers that are quite different than the usual sounds of Lagos! But even the more upbeat numbers have this wash around the edges – which seems to filter things together in an unusual way, and really make them come out sounding great. Titles include "Try Me", "Deep Funk", "Mind Twister", "Lay On The Ground", "Don't Drive Me Out", and "Time For Me To Go". CD

Music at the crossroads – as Roger Bekono takes an older style of rural expression, and forges it with some of the more electric modes that were bubbling up on the global scene at the time – all in a set of extended groovers that feature a very lively interplay of vocals and rhythms! The tunes bubble long with keyboard parts that seem to take over from older highlife modes, while the electric rhythms have a gentler approach than the heavier modes used in American dance or soul – so that the vocals flow nicely over the tops of the tunes, rising and falling with a warm sense of inflection. Titles include "Etom Mot", "Jolie Poupee", "Enying Moni", and "Ye Wo Kombel". CD

Don't think "rock", think "groove" – because oud player John Berberian takes his instrument into some very groovy territory here – mixing its Mid-East roots with a sweet array of modal rhythms and psychedelic elements – all of which make for an album that's even trippier than you'd guess from its cover! The album's one of the few "jazz meets world" sets that really gets things right – bringing together different global elements to come up with a sound that's wonderfully new and fresh – and which moves the whole thing way past its roots in Turkish, Greek, Armenian, and North African styles! Joe Beck plays some great electric guitar on the record – but the main string focus is on the oud, which Berberian uses with this exotic tinge that rivals the instrument in the hands of Ahmed Abdul-Malik on his own albums like this. The lineup also includes tenor and other reeds from Souren Baronian, plus other percussion, and nice use of electric bass to hold the whole groove together – and titles include "The Oud & The Fuzz", "Tranquility", "Chem-oo-Chem", "Iron Maiden", "Flying Hye", "3/8=5/8=8/8", and "The Magic Ground". CD