A heady tribute to the legendary Malian guitarist Ali Farka Toure – served up here with really wonderful lead guitar lines from his son, Vieux Farka Toure, who gets some fantastic help on the record from the Khruangbin trio! Given the fame of that latter group, the set could end up in territory that might be too mixed-up or rock-based – but instead, Khruangbin are wonderfully respectful of the legacy in which they work – and almost seem to come into play as a really great rhythm combo, backing up the lead – instead of trying to muscle their way into limelight on the set! That approach is what makes the record great, and allows us to tip our hat once again to the ever-changing and surprisingly generous spirit of Khruangbin – as they help Vieux Farka Toure turn out one of his best records to date, on titles that include "Savanne", "Diarabi", "Tongo Barra", "Tamalla", "Mahine Me", "Ali Hala Abada", and "Alakarra". LP, Vinyl record album

Although most Nonesuch Explorer sessions were ethnographic ones, recorded in the field by the label's engineers – this one's a studio session, recorded in New York by a group that's reputedly from Ghana, but which seems to be kind of a "fake" one from our perspective. Why? Well, because Charles Earland's playing tenor, for one – and although his native Philly was kind of far away from New York, we never heard it referred to as "Ghana"! Other players here are US-based jazz ones, too – like drummers Sonny Morgan and Robert Crowder, vibist Garvine Masseaux, and bassist George Brooks. The set's still got a strong High Life sound to it – but it also has jazz flourishes, too, in the way that was used some of the Art Blakey Afro-Drum experiments from the same time. Titles include "Ebony", "Bus Conductor", "Saturday Night", and "Sugar Soup". LP, Vinyl record album

A really joyous album from the Kenyan scene at the end of the 70s – a set that has cascading group vocals even more in the lead than percussion and guitar – yet all delivered with this light, compact style that gives the whole record a really fluid sense of energy! Both presentation and production are nicely lean for the time – especially given some of the modes that were coming into play in the West African scene – and the whole approach really makes the whole thing almost feel more like some sort of spontaneous musical collaboration than a record that was cut in the studio for EMI. Titles include "Mapenzi Tele", "Pole Na Safari", "Rosa Wa Tanzania", and "Caren Atieno". LP, Vinyl record album

An amazing organ player from the Ethiopian scene – one whose work here easily rivals that of Mulatu and some of the best artists on the Ethiopiques series! Hailu Mergi has plenty of jazz in his approach – not just on his own keyboard lines, but also in the way he lets the group members open up on tenor, trumpet, flute, and piano with great sounds of their own – a groove that's especially nice when Mulatu comes into the mix with some work on vibes as well! Yet the whole record also has the best exotic overtones of other Ethiopian grooves you'll know from the time – an eerie, almost otherworldly sort of sound – as the organ drifts over the top with riffs that feel like they're lifted from Terry Riley, yet turned much more towards a groove-heavy sound. The whole thing's wonderful – easily the best release on this label so far – and titles include "Woghenei", "Yemiasleks Fikir", "Lomi Tera Tera", "Musicawi Silt", "Birtukane", "Eti Gual Blenai", and "Tche Belew". LP, Vinyl record album

Insanely wonderful work from Shango Dance Band – a group headed by onetime Fela Kuti bandmate Ojo Okeji – whose bass work here is worth the price of admission alone! Okeji was a key part of Fela's Koola Lobitos, until leaving the group in 1968 – and taking some of the best players with him – to form the amazing Shango Dance Band, which is this incredible bridge between older Afro jazz modes and the new funk styles to explode in the 70s! At some level, the groove's a bit like that which Fela was percolating at the start of the 70s – but there's also some jazzier currents on the horn solos, especially the trumpet – and Okeji's bass is very far up in the mix – dipping, turning, and crafting these amazing grooves throughout – with a snakey vibe that's completely sublime – as is the entire record. And sure, there have been plenty of Afro Funk reissued on the market in the past decade or so – but few as essential as this one – or as enjoyable! Titles include "Position Pass Power", "Women Are Great", "Son Of Thunder", "Alupandu Gbe", and "I Need Your Love". CD

A sweet set of grooves from around the globe – all the sorts of tracks that Guts plays in his legendary DJ sets overseas – music that's got a much more far-reaching vibe than some of the tracks he issues under his own name! Overall, the set's very much in the best spirit of the Heavenly Sweetness label – especially in the way that company brings together music from so many different times and scenes around the planet – music that's taken even further here in the rich array of tunes that Guts serves up! A number of tracks are contemporary, but there's definitely some classic global flavors going on too – and titles include "Saude" by Pupulies & Rebecca, "Aye" by Ngalah Oreyo", "Canette (Bosq rmx)" by Pat Kalla & Le Super Mojo, "Utammada" by Ismail & Sixu Toure, "Nzambi/Muadiakime" by Alcione, "Aye" by Ngalah Oreyo, "Pe Di Bissilon (Dam Swindle rmx)" by Bande Gamboa, "Mi Moin Mi Ou" by Jobby Valente, "Cumbia De Sal Y Azucar" by Chucho Pinto Y Sus Kassino, "Limye" by Violaaa, and "Yamona (Dam Swindle rmx)" by Pat Thomas & Kwashibu Area Band. LP, Vinyl record album

Beautiful sounds from the short-lived musical legacy of Salum Abdallah and his Cuban Marimba Band – a group from Tanzania, but one who play with lots of influence from Latin Music – as you might guess from their name! And yet, unlike some of the larger, fuller Latin-influenced groups that were springing up on the West African scene of the 60s, this combo has a sound that's pretty stripped-down – often just heavy percussion and work on guitar – which appears to be a unique hybrid of the Cuban style of the instrument, which gets plucked and inflected in great ways next to the vocals! The well-done set might be the best we've seen so far from the Domino Sound label – and features tracks that include "Njoo Haraka", "Naumiya", "Cuba Cha Cha", "Kutenda Maovu", "Ngoma Iko Huku", "Macho Laini", "Masikitiko", and "Asiye Bahati Duniani". LP, Vinyl record album

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". (Jazz, Global Grooves) CD

A previously unissued album from Indian guitarist Amancio D'Silva – recorded during his legendary run of work at Lansdowne Studios, but making its first-ever appearance here! The work on the set is every bit as far-reaching and progressive as some of D'Silva's official releases – and like those sides, this one does a tremendous job of blending complicated guitar lines, unusual rhythms, and some super-hip instrumentation! Amancio has a way of playing guitar that's a bit like Gabor Szabo – airy and exotic at times, with a free-flowing quality that's really explored nicely here on the longish tunes on the set. Players include Don Rendell on saxophone, Stan Tracey on piano, and Alan Branscombe on flute, vibes, and electric piano – but best of all is the use of sitar and tabla on the record – often employed sparingly, but in a way that adds some great echoes of Indian music. Titles include "A Street In Bombay", "What Maria Sees", "A Song For Francesca", and "Konkan Dance". (Jazz, Global Grooves) LP, Vinyl record album

Juan De La Cruz is a band, not a guy – and they're one of the hardest rocking combos of the far east in the early 70s! The trio's propelled strongly by some razor-sharp guitar from Wally Gonzales – a player who stands mightily with some of the biggest British names of a few years before – but who's all the more compelling because of his lack of commercial fame in this scene. Vocals are often in that same blues-into-rock mode initiated by the Rolling Stones – but are often taken to weirder, wilder territory overall. Titles include "Round & Round", "I Wanna Say Yeah", "Take You Home", "Shake Your Brains", and "Big Boss Man". (Rock, Global Grooves) CD

A Brazilian group, but one who play with a wonderfully spiritual sound – with currents of jazz that take us back to the early 70s years of Strata East and Impulse Records, but given perhaps a bit more of a contemporary twist! The large lineup definitely lives up to the orchestra in their name – with a great mix of reed instruments, plus keyboards, guitar, bass, drums, and additional percussion – all used in these ways that start in jazz, then pick up a globe's worth of musical context along the way – not just Brazilian elements, but some Afro-Cuban and Afro Funk modes as well – but used in ways that are relatively unique, and which really give these guys their own sort of special flavor. Titles include "Samurai", "Sonhos De Toquio", "Bedum", "Doce Agonia", "Drago Do Mar", "Morning Birds", "Humaita", and "Garuda". CD

One of the hippest groups of the 60s to blend Eastern influences and Western rock music – a nicely lean trio that comes across with results that are even cooler than some of their contemporaries! Part of the record's strength is its leanness – as other instrumentation might have gotten in the way a bit more, and larger arrangements might have made the whole thing sound a bit fake. Yet instead, there's a raw quality to the record that recalls similar east/west experiments on Vanguard Records at the time – served up by a group that features Guy Duris on electric oud and electric sitar, Bruno Giet on electric minitar, and Farshid Golesorkhi on electric melodica and dumbek! Vocals are by all three, but there's a very strong focus on the instrumentation too – on titles that include "Fruit Of The Desert", "Layla", "Birds Of India", "Train To Bombay", "Caravan Of Silk", "Azaar", "Cobra Fever", "A Little Star", and "Cobra Fever". (Rock, Global Grooves) LP, Vinyl record album

Shankar was one of the few flying the flag of jazz/Indian music crossovers in the 80s – pushing the genre a bit farther forward at a time when most other players had abandoned it! Given that his instrumentation here is violin and drum machine, the sound's a bit different than some of the sitar/tabla-based sessions of the past – but there's a similar sensibility going on, one that stretches out the sound with inspirations drawn from Indian music, executed by a quartet that also includes Jan Garbarek on soprano and tenor sax, Zakir Hussain on tabla and congas, and Trilok Gurtu on additional percussion. Titles include "Paper Nut", "I Know", "Watching You", "Conversation", "Song For Everyone", and "Let's Go Home". (Jazz, Global Grooves) LP, Vinyl record album

A full plate of funky freakout grooves from the Turkish scene – compiled one and all from 7-inch records made from the end of the 60s to the dawn of the 80s! It's a mix of psych folk, funk, more traditional buzzing strings and hypnotic melodies – pretty wonderful all the way! Turkey's been a fertile wonderland of psych era sounds for deep diggers the past few years, but the quality level varies. This is one of the great ones, both for the music and for thick booklet of notes with info on each track. A far reaching set stylistically, with western jazz influences played with Turkish instruments, dreamy folkish melodies, rawer garage style grooves, heavy rhythms and spacier gems! Titles include "Dokuz Sekiz" by Okay Temiz, "Cokertme" by Kardaslar, "Sevdigim" by Erkin Koray, "Hal Hal" by Baris Manco, "Iciyorum" by Ajda Pekkan, "Osman Whlivan" by Arif Sag, "Gunese Don Cicegim" by Ersen and more. (Funky Compilations, Global Grooves) CD