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Puerto Rican born tenor saxophonist David Sanchez has over a fifteen year period explored his musical folk roots of bomba and plena in a variety of contexts, but has steered away from the Latin jazz formula. Indeed his last recording was devoted to Latin classical composers and involved work with a symphony orchestra. Now on the Concord label, he has returned to a more abstract, jazzier sound, and one that reflects the influence of the tenorist he sounds closest to, namely Sonny Rollins. Sanchez employs his own band with long-time collaborator Adam Cruz on drums and guitarist Lage Lund filling the space normally employed by piano. However, piano is in evidence on three tracks, two of which feature Danilo Perez. The majority of the lengthy compositions are Sanchez’s own and perhaps he does not yet possess the lyricism of say a Michael Brecker or Kenny Garrett to carry this off wholly successfully. The uptempo piece ‘Adoracion’ is actually the same title of a famous Eddie Palmieri composition and part way through Sanchez plays a riff from the original chorus, with Cruz impressing on polyrhythmic percussion. Lund stretches out on ‘Coast to Coast’ with Metheny-esque guitar licks while Perez accompanies Sanchez and the band on the Michael Brecker sounding waltz ‘Mambo Azul’. In general while technically accomplished, some of the tracks simply lack warmth and tend to drag on for too long. It is on the laid back ‘Monk’s Mood’ that the soulfulness in Sanchez’s tenor playing comes to the fore and in future he should concentrate on this aspect of his playing.Tim Stenhouse

In 1978 Chick Corea undertook a concert tour with Herbie Hancock the result of which was the acclaimed piano duet evening. Thirty years on Corea repeats the formula, this time with upcoming Japanese pianist Hiromi and what a winner of a collaboration it is too. Based on live recordings at the Blue Note club in Tokyo from 2007, this is the latest in what historically has been an intense relationship between jazz musicians and Japan and one that stretches back several decades to the like of Horace Silver with the ‘Tokyo Blues’ album, or Dave Brubeck and his ‘Impressions of Japan’. For Corea it is over forty years ago that he visited Japan as part of Stan Getz’s group in 1967. The connection with Hiromi goes back a decade to when the Japanese pianist was only seventeen. Now a maturing musician, Hiromi and Corea played together again at the 2006 Tokyo Jazz festival and a year later decided to record an album.

Compositions are shared between the two with Corea’s ‘Windows’ receiving a sumptuous treatment that conveys all the beauty of the original while ‘Deja Vu’ and ‘Place to be’ by Hiromi are surprisingly lyrical pieces from the pen of a relatively young pianist. The sensitive quasi-classical feel to Jobim’s ‘How insensitive’ is another highlight and Gershwin’s ‘Summertime’ becomes an extended improvisational number. Only ‘Concierto de Aranjuez/Spain’ disappoints with Corea’s latin-tinged theme being over-elaborate. Otherwise this ranks alongside last year’s Hank Jones and Joe Lovano live duet, and the Bebo Valdes and Diego El Cigala collaboration as one of the finest duet albums of recent years. Tim Stenhouse

Rio-based trio Azymuth have been together on and off for the best part of thirty-five years and with this latest recording have come up with one of their best all round albums in over a decade at least. They have returned to the grittier groove of their early Milestone albums and this ideally suits the band. The opener and title track is a tribute to keyboard legend Herbie Hancock and his composition, and they remain faithful to the original with subtle use of strings and lovely fender rhodes playing from their own keyboard maestro Jose Roberto Bertrami. However, it is the mid-tempo groove of ‘Os cara la’ and ‘Triagem’ that typify the Azymuth sound and the former may become a dancefloor favourite with its fine funk bass from Malheiros and use of vocoder vocals. Where Azymuth have added to the original concept of the group is in the jazzy colouration of instrumentation as in ‘Caitutu’ which is a short samba with gorgeous flute, or the light and breezy folk-influenced ‘Meu doce amigo’. A percussion breakdown courtesy of the renowned Robertinho Silva is on offer on the brass-led ‘Avenida Rio Branco’ with Bertrami exploring on fender. The laid back mood of ‘New dawn’ rounds out a terrific recording and one that will rate among the finest Azymuth have recorded thus far. Tim Stenhouse

Excellent release from yet another wonderful Malian artist, with great production, from Yves Wernert and Philippe Berthier, neatly mixing the rural sound with a raw funkiness and Western dance loops. Gael Le Billan is a major player as well, not only as an arranger but also adding a whole range of playing from acoustic guitar to sax to this album of many flavours. Issa Bagayogo is clearly with this CD ready to find a bigger audience, I recommend you are one of them.
Graham Radley

Issa Bagayogo has been a recording artist for just over a decade and thus far has primarily focused on rootsy acoustic Malian music. While generally well received, his music has yet to be perceived among the premier league of African singers. This may be about to change with the release of ‘Mali Koura’, a stunning collaboration between West African and French musicians and one in which the exceptional production chores have resulted in the musical marriage of two continents where creativity, sensitivity and mutual respect are all in evidence. Not unlike the production talents of Manu Chao with Amadou and Mariam in bringing the music of the latter to a wider audience, multi-instrumentalist Gael Le Billan and producers Yves Wernert and Philippe Berthier have come up with a winning combination. Recorded at Issa’s home in Wassalou, south west Mali, but with further instrumentation added at the supremely eclectic Le Billan’s home in Nancy, eastern France, this is a highly inventive mix of tradition and new technology.

Possibly the stand out track is the infectous ‘Poye’ with its lovely use of percussion in harmony with the duet vocals and Malian violin thrown into the rootsy mix. However, this is an exceptionally strong album throughout. The uplifting ‘Dibi’ impresses with keyboards acting as surrogate brass while ‘N’Tana’ is a busy, bustling song that incorporates complex rhythms that build in intensity. Contrast these with the altogether jazzier feel to ‘Ahe Sira Bila’ with nice use of guitar and the opener ‘Sebero’ with a stronger emphasis on electronics, and you have a superbly well balanced and diverse album. Unquestionably one of the world roots albums of the year and a major surprise arriving at the very end too.Tim Stenhouse

Congolese guitarist Franco is still widely revered as Africa’s greatest musician and this Stern’s compilation is a great insight as to why. The opening track ‘Esengo ya mokili’ was made at the age of 15, after he had come to attention as a brilliant street busker who built his own guitar at the age of 7. The double CD takes us through 27 more years with 28 tracks in total and extensive sleeve notes. Some called him Godfather others the Sorcerer but we should just call him genius and revel in the brilliant music he created. Graham Radley

Congolese guitarist and band leader Franco ranks alongside Fela Kuti as one of the true giants of African music. Indeed it is arguable that the influence of the former on numerous countries music on the African continent has been greatest of all. Had it not been for Franco’s untimely death in October 1989 when the concept of world roots music was still in its infancy, he may have become as household a name as members of the Buena Vista’s. Thankfully he left as his legacy an extensive discography and it is from this that Sterns have selected a first volume of his early period weighing in at over two and half hours. Even this only scrapes the surface of Franco’s genius, such was the prolific nature of his recording career. The evolution of his music is evident in the contrasting styles between CDs 1 and 2. The first focuses on the early years from the mid-1950s when Franco was searching for an individual style to the end of the 1960s when Congolese music was about to undergo a major transformation with the policy of ‘authenticity’. From this formative period key tracks includ ‘On entre O.k., on sort k.o.’ which is typical of Franco’s 1950s sound. Noticeable during this period is the influence of Cuban music, but here transposed into a uniquely Congolese hybrid. Whereas Cuban instrumentation would include flute, violins and piano, Congolese rumba would favour electric guitars and reverb. The influence of Cuban music was pervasive and on ‘Tcha tcha tcha de mi amor’ is a delicious slice of Congolese Cubanissimo with a nod towards the great Grand Kalle.

Political and cultural changes were afoot from the mid-1960s onwards in the newly independent Congo. With the coming to power of Mabutu in 1965 a new policy of ‘authenticite’ was implemented and this impacted upon music as in other cultural domains. Secondly, an unprecedented period of growth and confidence was characterised by the commonplace slogan ‘My Mercedes is nicer than yours’. It was into this new era that Franco had found his own distinctive sound as exemplified on the 1970 song Marie Naboy’. By the early 1970s Franco, along with long-term rival Tabu Ley Rochereau, had significantly extended the length of songs with the use of the ‘sebene’ section, and indeed Franco cut some of his most enduring music from this period. Vocalist Sam Mangwana had joined the band and the combination of his sweet vocals and Franco’s guitar virtuoso along with brassy horns resulted in an irresistable and cohesive sound that listeners will be enthralled by. From the melodic lyricism of ‘Cherie Brandowe 2’ to the Afro-Cuban feel of ‘Mabele’ with its beautiful use of brass and especially saxophone, through to the endless guitar riffs on the lengthy ‘Liberte’ and the anthemic ‘Azda’, Franco was in his golden era and the compilation could easily have filled two CDs alone with additional gems from the era.
A lavish forty-eight page booklet with incisive bi-lingual notes from musicologist Ken Braun and original photos of Franco and band members round off an indispensable guide to the early part of le grand maitre’s career. Tim Stenhouse

Following on from last year’s debut masterpiece ‘Around’, Tu Sheng Peng return with another excellent slice of contemporary roots reggae. If anything the Jamaican presence is even more impressive this time and features some of the cream of the crop vocalists still alive (Clinton Fearon of the Gladiators, Derek Harriott, Michael Rose, Rod Taylor)and a whole host of DJs from Prince Jazzbo, Tappa Zukie and daddy U-Roy to Ranking Joe, U-Brown and Joseph Cotton. As before the aim is to create an acoustic, authentic and organic roots feel from the 1970s and one would be hard pushed to find a similar band that can convincingly recreate this sound in Kingston. One of the albums surprises is the pairing of reggae producer and singer legend Derek Harriott with Bunny Brown on ‘I’m a believer’. This was a masterstroke and from the lovely fender intro is an absolute gem of a song. Likewise the welcome return to recording of Rod Taylor, now permanently settled in France, who is back on top form on the rootsy ‘Love grows’. It would be a mistake, however, to think that French singers cannot convey the feeling of roots reggae. Ras Daniel Ray, lead singer of the band, offers a superlative modern anthem in ‘Vision Land’ with accompanying righteous lyrics. This receives a DJ version over the same riddim courtesy of Joseph Cotton. An added bonus is the instrumental piece ‘True love can never die’, which showcases the considerable talent of the recently departed trumpeter and long-time member of the Skatalites Johnny Moore. He will be greatly missed and this will serve as a fitting memory to him. One hopes that at some point promoters will see fit to bring the Tu Sheng Peng live act to the UK. Tim Stenhouse

This is the second album from Eliane Elias this year and this time is devoted to paying tribute to the fiftieth anniversary of the advent of bossa nova and pianist-singer Elias returns with an impressive homage that largely avoids the cliched pitfalls, and reinforces what a wonderful interpreter of the Brazilian repertoire she is. Carefully avoiding a tribute exclusively to Jobim (only three of his compositions are included), Elias showcases a number of other composers who were influential during the bossa period (Geraldo Pereira, Joao Donato, the great Joao Gilberto) as well as giving the bossa treatment to a few old chestnuts from the great American songbook. Using largely a Brazilian band of trio (Paulo Braga on drums, Marc Johnson on bass)plus Oscar Castro Neves on guitar and various guests plus British orchestrations from Abbey Road, Elias impresses on the pared down songs that use minimal or no orchestration. These include the wonderful ‘Falsa Baiana’ where Elias excels on vocals in Portugese, the delightful ‘Minha Saudade’ and the piano-led ‘A ra’ (’The frog’). Of course the better known pieces of the bossa songbook are not forgotten either and Elias delivers a cool version of ‘Girl from Ipanema’, a faithful take on ‘Desafinado’ and ‘Chega de Suadade’ for good measure. One cannot help but think that an artist as talented as Elias should be let loose on other post-bossa projects of Brazilian music and her ability to breath life into Brazilian ballads is ilustrated on the laid-back ‘Estate’ (’Summer’)that features Toots Thielmans on harmonica. Don’t be lulled into a false sense of security by the inner and outer sleeve cover photos of the diva in pose. Eliane Elias is a musician of integrity who deserves to be heard in a variety of settings. Tim Stenhouse

Take a centuries old 40-string North Indian instrument notoriously difficult to play, a 75-strong Philharmonic orchestra, two choirs, some of the finest jazz and rock musicians around, stir in African kora, Indian bansuri bamboo flute and tabla and then add just one man with a unique vision.  What you get is music on an epic scale that is as bewitching as it is indefinable, as exquisitely filigreed as it is muscular.  Welcome to the world of Surinder Sandhu. 

His music takes in the classical traditions of India, Africa and Europe and blends in jazz and rock and roots - but it becomes something far beyond that.  This is not mere hyperbole.  Sandhu’s third album “The Fictionist” defies categorisation, yet it deserves a place not just on the shelf, but in the minds of all those to whom music is more than just wallpaper. This album is a jewel of an opus.  Highly recommended. Glyn Phillips

Following up on the critically acclaimed first volume, this second instalment explores in further depth the long overlooked relationship between the compositions of country music and the soulful interpretations of the world of deep soul and soul-blues, and is a joy to behold. For those not already initiated to the cross- fertilisation of genres, country and black music have always been unofficial, but consensual bedfellows (and ones that compliment each other perfectly), and have evolved separately on either side of the railroad track. Indeed through the medium of radio even in geographically segregated neighbourhoods in the States, the music of the other half was always readily accessible. This new volume is great value at over seventy-one minutes and includes some of the cream of the crop of soul and blues vocalists. Sixties icons such as James Brown, Solomon Burke and Joe Tex feature as do a trio of ladies including Ruth Brown, Margie Joseph and Tina Turner. Of these Brown impresses with her radical jazz-blues reworking of Tennessee Waltz’ and Margie Joseph weighs in with a lovely take on Dolly Parton’s ‘Touch your woman’. Among the discoveries Lou Johnson cut some of the rootsiest southern soul for Atlantic at Muscle Shoals typified by the blues-inflected selection ‘She still thinks I care’, while in O.B. McClinton we find a voice ideally suited to country songs as illustrated on ‘Talk to my children’s mama’. Soul-blues legend Clarence Frogman Henry cooks up a storm on ‘I told my pillow’ with instrumental accompaniment reminiscent of late 1950s B.B. King.

Detailed bi-lingual liner notes courtesy of deep soul aficionado Jonathan Fischer place the music in its rightful historical perspective and help to shed light on why so many soul and blues singers from the 1940s and 1950s have been influenced by the incredibly souful hues of rootsy country singers like Patsy Cline, Lefty Frizell and the incomparable Hank Williams. As ever with Trikont classy gatefold cover and photos of the artists are to the fore. Tim Stenhouse

Blind Malian couple Amadou and Mariam rose to prominence with their last CD ‘Dimanche a Bamako’, which was recorded by Manu Chao. This time the production duties fall to Frenchman Antoine Moreau with one song produced by non other than Damian Albarn. However, the overall sound is very much that of the previous album with both a deliberate and creative attempt at fusing rootsy Malian music with modern rock-influenced and on this level alone it succeeds. Little wonder that Mojo magazine have made it their album of the month and this will certainly appeal to a wider audience and one not normally accustomed to West African sounds. Uplifting songs with high tempo rhythms predominate here as illustrated on the funky ‘Unissons-nous’ with Nigerian-UK based singer Kezia Jones guesting, or ‘Compagnon de la vie’ with its catchy riff and lovely hammond organ. However, on a lengthy album that weighs in at over sixty-five minutes and fifteen songs, the most impressive compositions that depart from the script and offer an alternative side ot the couple. The hypnotic groove of ‘Magoss’ with jazzy inflections on bass clarinet and inventive flute is a highlight as is the use of Malian violin on the haunting mid-tempo ‘Bozos’. Possibly the most traditional sounding piece is ‘Djuru’ with the use of kora over a heavy backbeat. Factor in more guest vocals from French rocker Juan Rozoff on ‘Je te kiffe’ and Damon Albarn’s layered electronica on ‘Sabali’ and you have an inspired album that will surely catapult Amadou and Mariam into the big time in the English-speaking world.Tim Stenhouse

Youngest son of Fela Kuti, Seun has largely avoided the international limelight for some time while honing his live skills with various members of Fela’s Egypt 80 band. Indeed as barely a teenager Seun opened as a live act for his father at the legendary Shrine venue in Lagos. The result is a superb, hard hitting debut album that contains all the urgency of Fela’s albums and more of a cutting edge in sound than that of older brother Femi. Like his father, Seun uses vernacular pigeon English to get across sometimes complex messages in the most concise and direct manner possible.

Produced by ace pan-African specialist Frenchman Martin Meissonnier (of Khaled and King Sunny Ade production duties), this album does not hold back in it’s critique of African governments and society. This is exemplified on ‘Don’t take that shit to me’ which is in essence a political tirade against corrupt and incopmetent government in Africa. The title track makes some trenchant observations on social conditions in Nigeria and the subtle use of keyboards and gorgeous melody creates an infectous and intoxicating rhythm. Seun Kuti is, however, not only sending out negative messages, but also encourages his (African) listeners to overcome psychological enslavement on ‘African problems’. In general the album impresses with its variation in the use of tempo and by no means all tracks are taken at breakneck speed. Clearly there is a sophisticated musical mind at work here behind these unconpromising social messages. French national radio is already heralding this as one of the best albums of the year and it is certainly a prime contender for project that most closely resembles the socio-political as well as musical edge that characterised so much of Fela Ransome Kuti’s output.Tim Stenhouse

Japanese art form invariably combines different aspects and one of the main forms of Japanese theatre, ‘kabuki’ incorporates elements of dance, drama, music and pantomine. Within this form, Geza music refers to the off-stage music of kabuki theatre, but can also be adapted from noa theatre. Musicians in kabuki tend to be positioned in two separate locations; on stage with the principal instruments such as the shamisen, flute and drums; a separate small room concealed by a bamboo curtain where percussion instruments are played and actors often provide the sound effects. The music itself is to this listener’s ears folkloric in sound and pared down to the bare minumum. Particularly impressive is the flute and koto solo on ‘Aikata’. Impressionistic in tone, the music is inextricably linked to the play unfolding on stage. The instructive and extensive inner sleeve notes provide much needed historical context for the newcomer to this form of music. It should be pointed out that the music here is best appreciated in conjunction with viewing a film tale of traditional kabuki theatre and the ‘47 Ronin’ is one of the all-time classics. Tim Stenhouse

Originally recorded in 1966 by traditional music specialist Yuize, this CD showcases the rootsy stringed instrument that is the Koto. In fact the koto is an approximately six foot, thirteen-stringed instrument and one that has to be played with three ivory picks that are placed on various fingers of the right hand. There is debate over whether the instrument arrived in Japan from China during the fifth century. What is beyond dispute, however, is the sheer beauty and meditational sound of the koto. Shinachi Yuize is a world-renowned practitioner of the instrument and one who has recorded with other classical musicans from throughout the world, notably Ravi Shankar and Yehudi Menuhin. Among the five extended pieces, three are instrumental solo compositions while the remaining two are koto plus vocals and it is the former that impress most of all. The opener ‘Zangetsu’ typfies the haunting koto sound in all its glory while the lengthy ‘Midare’ incorporates several sections and explores a wider musical canvass. One minor gripe is the cover photography which is a little dull in black and white and lacking in clarity. Given the wonderful cover on the original vinyl, it seems strange this was not reproduced in full. Otherwise this is an excellent release that, because of the spiritual nature of the recording, will appeal to an audience beyond those interested exclusively in the Far East, and in particular jazz fans will find much to appreciate in the virtuosity of the playing contained within. Extended inner sleeve notes significantly enhance the listener’s understanding.Tim Stenhouse

Seattle born pianist Aaron Parks has packed a lot into his relatively young (twenty-four)years. From jazz mentors of the calibre of Kenny Barron, Fred Hirsch and latterly a tenure in Terence Blanchard’s band, to university studies begun at the tender age of fifteen, Parks is one precocious talent. On his debut for Blue Note he takes in multiple influences that range from Herbie Hancock and Wayne Shorter on the jazz side to Bjork, Radiohead and Talk Talk in the world of rock. In this respect he is like many of his contemporaries and not dissimilar to Brad Mehldau. What is interesting about the quartet is the interplay between guitarist Mike Moreno and piano on the one hand, and the subtle use of electric keyboards and drums on the other to create a layered, sometimes rock-inflected groove. In this respect there is a nod to EST in attitude, but in the sound created this is far more in the vein of a pared-down version of Pat Metheny in a quartet setting.

Beautiful ensemble work permeates ‘Karma’ with musicians playing off each other to wonderful effect whereas ‘Nemesis’ is characterised by a catchy and effective simple piano riff after which the guitar takes off. The expansive ballad ‘Praise’ showcases the refinement and maturity in Park’s piano style. No standards and all originals makes for an accomplished debut that promises a great deal for the future. Last year Robert Glasper was rightly hailed as a major new talent. This year the mantle must surely be passed on to Aaron Parks and one looks forward to the trajectory in development of his next releases.Tim Stenhouse

Mixed at Joe Gibbs studios by one half of the Mighty Two, Errol Thompson (but devoid of the special effects typical of the Mighty Two dub albums), ‘Dub I’ originally came out on an extremely limited edition LP in Jamaica in 1975. It was briefly released in the UK, albeit in a highly disguised form in the early 1980s, but has remained a collectors must have among dub cognoscenti because of its uncompromising pared-down sound. Pressure Sounds have reproduced the orginal minimalist sleeve with a crystal clear re-mastering, adding five extra dub and instrumental tracks.

Ivan ‘Jimmy’ Radway is something of an elusive figure even in reggae circles and certainly has not been prolific on the production front. However, what he has lacked in sheer quantity, he has more than made up for in the superb quality of the recordings and attention to detail. Some of the finest roots 45s were cut by Radway including ‘Black Cinderella’ by Errol Dunkley and ‘Mother Liza’ by Leroy Smart as well as various DJ cuts to the aforementioned by the likes of Big Youth and I-Roy. The genius of ‘Dub I’ was to bring all these classic riddims together and reproduce them in beautifully crafted and relatively short dub versions. Impressive are dub cuts to ‘Dub is my desire’ (originally Leroy Smart’s ‘Happiness is my desire’) and ‘Big Youth version’ (a dub cut to ‘Cinderella’). Of the extras, the instrumental ‘Tina May’ stands out and offers some nice trombone soloing from Vin Gordon over a heavyweight rhythm as does ‘The great Tommy Mc Cook’ by the legendary Skatalite member. Another winner of a re-issue from the premier UK label championing quality roots recordings. Tim Stenhouse

Another tasty Dancing Turtle release with this husband and wife duo from the remote central highland region of New Guinea now exiled in the UK. The journey here was brought about by the dreadful difficulties they faced from the occupying regime of Indonesia including imprisonment for peacefully raising the banned national flag of West Papua. Rooted in the sacred rituals of the Lani Tribe the songs are emotive tales of their journey, of life, of traditions and ensure a legacy for a tribe whose future is of great concern. Folk music from the heart. Graham Radley

Oh just listen to ‘Chan Chan’ kick in on CD one and they’ve got you in the palm of their hands, pure magic. Produced by Ry Cooder, from a concert in 1998 as the group made their American debut, even though they were in their 70’s, 80’s and 90’s. This is very much a moment in time as they never all played together again and sadly members like Ibrahim Ferrer, Rubén González and Company Segundo were soon to pass on. Double CD, 16 tracks, music just doesn’t get any better than this. Graham Radley

Ten years on from the world-wide explosion of interest in the Buena Vista Social Club, it is fascinating to revisit the the first concert that the collective played in the United States and at the prestigous Carnegie Hall in New York to boot. Fortunately World Circuit recorded it for posterity and it does not disappoint. Long-time Buena Vistas in this country will remember the atmosphere at the Jazz cafe gig in London, and the week long fesitval of Cuban music at the Bridgewater Hall in Manchester. A decade earlier it would have been unthinkable that a bunch of Cuban musicians from the 1950s and beyond could have become a world-wide phenomenon, let alone be allowed to play in the States given political differences pervasive at the time. The concert swept away any such considerations and the music contained within catches the Buena Vistas at their absolute peak with the extended collective in all their glory.

The double CD provides plenty of space for the expanded repertoire of the band to be showcased, and in uptempo numbers such as the classic ‘Mandinga’ and the instrumental ‘Siboney’ with refined piano playing from Ruben Gonzalez we hear them at their absolute zenith. Shifts in tempo abound on ‘Almendra’ while the campesino country style of ‘Orgullecida’ allows the duet between Compay Segundo and Omara Portuondo to shine through. This is a trip through the classic Cuban songbook with songs such as ‘Cuarto de Tula’ that Celina Gonzalez made famous, but here transformed into an eight minute Latin big band number with vocals shared by Ferrer, Pio Leyva and Puntillita. Mid-tempo burners such as ‘De camino a la vereda’ swing like crazy and cha cha cha’s of the calibre of ‘La enganadora’ oscillate between instrumental and vocal passages. Of course the hit numbers are featured and ‘Chan Chan’ is a particularly fine rendition while ‘Quizas Quizas’ conjurs up the magic that Nat King Cole once injected into the song. With a deluxe thirty page booklet, the whole phenomenon is beautifully chronicled with musicians and writers alike providing commentaries. An indispensable slice of timeless nostalgia. Tim Stenhouse

Formed by Jordanian vocalist Shireen Abu-Khader to celebrate Arabic folklore. Their description on the sleeve notes as a ‘ modern folkloric chamber group’ sums them up well, the music is traditional with new arrangements but keeping the vocals very much to the fore on these Sufi influenced songs. Beautiful. Graham Radley

Rough Guide once more exel with their mix of old and new, try these to give you a snapshot of where they are coming from: Joe Arroyo y La Verdad, Radio Cumbia, LA-33, Colombiafrica, Mojarra Electrica and Grupo Saboreo. 15 tracks in all and they all have one vision, dance and party until you drop. Very good. Graham Radley

Gotan Project’s live recordings are something of a cause celebre (for essential viewing see their previous live DVD which is an ideal accompaniment)and the combination of acoustic instrumentation and electronic beats have resulted in a cult fan base and a welcome re-invigoration of the classic tango sound that is already enjoying a renaissance in its native Argentina. This new offering captures two separate live performances from distinct tours, one resulting the first album during a concert in London in 2003, and the second from a more recent live gig in Switzerland, 2007, focusing on the ‘Lunatico’ album. In luxurious digipak format with gatefold sleeve, the recordings are every bit at stylish as the ever inventive packaging. With only one noteable change in the line up for the latest tour, this being a new pianist Lalo Zanelli, the sound is remarkably good for a live session and consistently strong throughout. There are no less than three separate versions of their signature tune ‘Santa Maria(Del Buen Ayre) and two versions of the latest dancefloor hit ‘Diferente’ with a faithful rendition of ‘Triptico’. As an introduction to the group’s distinctive sound, this is exemplary music. Tim Stenhouse

As part of the ongoing series of re-issues comes the latest instalment of classic Stan Tracey sides. This focuses on live recordings from the mid to late 1970s, with the leader’s compositional skills to the fore, and captures Tracey and the larger ensembles in top form. By this period Stan Tracey had completed his long stint as house pianist at Ronnie Scott’s and was beginning to explore freer jazz forms in both duet and larger ensemble formats. Comprising three separate recordings, the one on CD2 features a set from the Salisbury Arts festival. The octet formation was born out of three commissioned pieces for the festival and showcases a mouthwatering line up of British jazz from the era including trumpeter Harry Beckett and reed players Trevor Watts, Alan Skidmore and Don Weller respectively. Of the extended numbers, ‘Peg-leg Bates’ impresses with its heavy emphasis on swing while ‘Ballad for St. Ed’ reveals the influence once more of Ellington in Tracey’s playing. The line up would be modified slightly on other dates with bassist Dave Green and saxophonist Peter King featuring among others.

The first CD from an earlier concert at Bracknell is more blues-inflected while being in the post-bop style and is characterised by a winning combination of stabbing horns and melodic compositions. Excellent saxophone solos and highly improvised piano intros make for highly enjoyable listening with a bonus being the unreleased encore of ‘Chiffik’. 2009 will see Tracey revisit some of the octet suites and if this is a taster of what is to come it should prove be both essential viewing and listening in the new year. A previous BBC Omnibus documentary featured the octet formation during the original period.  Tim Stenhouse

Cap Verdean veteran singer Cesaria Evora has become known to an international audience at a relatively late stage in her career, but in her early twenties at the begining of the 1960s had already become the darling of national radio on the islands. This luxuriously packaged CD with extensive tri-lingual liner notes pulls together various sessions that were previously unissued and were found by chance among master tapes. Now lovingly re-mastered they represent a priceless document of Cesaria’s early career when she was struggling to make end’s meet. In fact at this time she did not even have enough money to pay for a pair of shoes and this led to her being nicknamed ‘the shoeless diva’, and also explains why to this day when performing live she does so in her bare feet.

The CD reveals that even in her youth Evora’s voice was almost fully matured and in a pared down setting that allows us to marvel at the sheer musicality of Cape Verdean morna which in influence is close to Portugese fado (the influence of the great Amalia Rodrigues is evident), but also to Cuban and Congolese rumba, and even classic Brazilian samba. From the mournful lament of ‘Mar Azul’, a song revisited in recent years, to the uplifting exuberance of ‘Terezinha’ and the forbidden fruit uncovered in ‘Frota probido’ and the anthemic cavaquinho inflections of ‘Beirona’, this is a re-issue richly deserving of repeated listening. Probably the rootsiest CD to emerge of 1960s music since Guillermo Portables’ ‘El Carretero’ in the mid-1990s. Tim Stenhouse

Only real Xmas release we’ve had through this year, a well rounded collection that has Ray Charles doing ‘Rudolph The Red Nose Reindeer’ and the intriguingly titled ‘Wrap Yourself in a Christmas Package’ which I’ve not heard of before but was apparently first brought out in 1961 by Charles Brown (who is featured on this CD with ‘Santa’s Blues), here it’s covered by Randy Greer and Ignasi Terraza Trio. Other tracks come courtesy of Mighty Blue Kings, Riff Riffin, The Dukes of Dixieland, Ramsey Lewis, Emilie-Claire Barlow and BB King. Graham Radley

Christmas. That joyful time of year when everyone rushes around like demented rabbits in search of the perfect present and one has to suffer the annual ravings of the in-laws. For a truly alternative take on the Christmas message and to celebrate the less savoury, and some one say more realistic aspects of the festive period, Trikont have unearthed a second volume of festive rantings and one which is the audio equivalent of cinema’s Billie Bob Thornton’s ‘Bad Santa’ meets Will Ferrell’s ‘Elf’.

The compilation covers the whole gamut of Americana focusing predominantly on classic soul and blues, but not forgetting the rootsy side of country with bluegrass ably represented. From the Stax vaults comes a timely reflection by the Staple Singers in ‘Who took the merry out of Christmas?’ and a superb ‘Gee whiz, it’s Christmas’ from Carla Thomas whereas Big John Greer in full festive mood affirms ‘We wanna see santa do the mambo’. More unusual are the countrified takes on the festive period with a downside ‘Blue Christmas’ from Ernest Tubb’ and a more upbeat ‘Christmas time’s a-coming’ from Bill Monroe and his Blue Grass Boys. For the truly esoterical, however, sample the French language questioning of Santa’s very existence on ‘Je et tu ne croient plus au Pere Noel’ by Marianne Dissard and Ampiro Sanchez, the alternative disco of ‘Christmas Wrapping’ from the Waitresses (later massacred by the Spice Girls) and the melodic punk of Japanese duo Coconami on ‘Sleigh Ride’. Add in some gospel courtesy of Sons of Heaven, blues from Jimmy Witherspoon and Sonny Boy Williamson respectively, and you have a genuinely eclectic interpretation of Christmas that will have the relatives running for cover.  Tim Stenhouse