Tuki is the song of one given to many. As the ECM leader debut of master drummer Momodou “Miki” N’Doye, it houses multiple fates under one roof and collates them into discernible rhythms and voices. N’Doye hails from Gambia, where in the mid-70s he met Norwegian musician Helge Linaae. This encounter brought him to Oslo, where, after coming into contact with such influential movers as Jon Balke, his future as shaker in the far north was secured.

After taking time out to tour in 1997, Toby Marks moved from the UK Midlands to Somerset, in southwest England to set up a new studio. After recording the new CD, he then decided to set up his own label in England, Disco Gecko Recordings. The Magical Sounds of Banco de Gaia travels freely between the violins and cellos of Glove Puppet and the Kenyan rain song that forms the basis of the next piece, No Rain. So maybe it’s world music, or global trance; but it’s not intentional.

Since the late '80s, Irish singer/composer Enya has become the most unlikely of international stars, delivering lush, Celtic-driven pseudo-classical odes in her signature Wall of Sound vocal style, rarely granting interviews, never touring, and generally taking as much time as she wishes between albums. Bucking odds and industry trends, her popularity has remained steadfast, allowing her to become the best-selling Irish solo artist of all time. Following 2008's snowbound And Winter Came, her silence stretched to eight years – the longest of her career – before the mists once again parted to reveal her eighth album, the evocatively titled Dark Sky Island.

Canadian singer/composer/harpist Loreena McKennitt's lush Celtic-infused balladry and worldbeat sensibilities lend themselves well to holiday music, a genre she toyed with in 1995 on her Winter Garden: Five Songs for the Season EP. Released in 2008, A Midwinter Night's Dream takes those five songs (newly remastered) "Coventry Carol," "God Rest Ye Merry, Gentlemen," "Good King Wenceslas," "Snow," and "Seeds of Love," and adds eight new songs (all of which were recorded at Peter Gabriel's Real World recording studio) including "The Holly and the Ivy," "In the Bleak Midwinter," "Breton Carol," and "Emmanuel." The songs are immaculately produced as always, and McKennitt's predilection for Eastern mysticism and unique instrumentation keeps them from falling into the usual seasonal clichés.

First time reissue of this forgotten album of Don Cherry. This album was recorded in 1978 in Paris and released only in France in 1981. That was the first meeting between Don Cherry and Indian percussionist Latif Khan and the result is an incredible mixture of jazz and Indian music. This unsung album is only known by hardcore fans of Don cherry who considered it as one of his best effort.

It says much for Malian music that two of its greatest players, kora masters Toumani Diabaté and Ballaké Sissoko, are among its most determined innovators. Not content with weighty family legacies (the two are cousins), they have won international recognition for their instrument, the 21-string west African harp, in part through cross-culture collaborations. Diabaté’s latest, with the London Symphony Orchestra, is imminent, while here Sissoko has sought out an assortment of guests. Among them is cellist Vincent Ségal, with whom he has already cut two sublime albums, and who joins clarinet player Patrick Messina for a sprightly take on Berlioz’s Symphonie Fantastique.

Big Youth's debut full-length album, 1972's Gussie Clark-produced Screaming Target, was an instant classic, showcasing Youth's uncanny ability to transfer the vitality and energy of Jamaica's dancehall sound to the studio setting. But Youth did more than that. Recognizing that if one is given the chance to say something, then one ought to have something useful to say, he lifted the art of DJ toasting to the level of art by intelligently incorporating bits of Rastafarian wisdom, pop-culture references (frequently connected to the world of cinema), children's rhymes and key lines from traditional Jamaican mento folk tunes into his toasts to create a music that both drew from and added to the classic island rhythms he used, ultimately creating a template that allowed constructive cultural themes to be reintroduced into the frequently slack dancehall scene. An essential Jamaican album in its original ten-song incarnation, Trojan has here reissued it with fourteen bonus tracks that include the original vocal cuts Youth used for his versions, along with some marvelous dub versions.

LIMITED EDITION CD BOX SET A chronicle of rare & unreleased studio, radio & live recordings. Almost four hours of music. Includes booklet with color photos, track history and more!

Silence-Light is flamenco percussionist and composer Nacho Arimany’s debut album. The great creativy and power of Javier Vercher is present on saxophone and percussion atmospheres. Lionel Loueke is on amazing guitars from Africa and other galaxies; joined with his personal and unique voice. Pablo Suarez supports the melodies with the piano; the flamenco harmony going beyond his own gipsy soul. The great voice and talent of the flamenco gipsy singer Antonio Campos and the superb jazz bass sound of Massimo Biolcati, work in real tandem with flamenco dancer Concha Jareno, who gives new percussive melodies and feelings to the music. This fantastic group of musicians got together to record at Systems Two Studio in New York in the Spring of 2006. This work is a journey through different worlds and feelings. The real compromise with music as an experience to share in freedom.

I do not exactly remember when I heard the name Rogér Fakhr for the first time. It must have been around 2 years ago during one of these afternoons I spent at Issam Hajali’s jewelery shop on Mar Elias Street in Beirut. We had started working on the idea of re-releasing some of Issam’s music and he proposed his first album “Mouasalat Ila Jacad El Ard”; recorded before starting his band Ferkat Al Ard. As it happened, Rogér had colaborated with Issam in the process of working on the music and recording. They were both living in Paris for some time after each of them have had left Beirut sometime after 1976.

John Lennon would have turned 67 in 2007. If alive, he could well be at the forefront of bringing peace to Darfur, where more than half a million have died from violence and disease during four years of rebel discord. So to create awareness of the ongoing conflict, Amnesty International (with permission from Yoko Ono) has mined Lennon's solo work and rounded up nearly two dozen current artists to reinterpret the music, which spans the ex-Beatle's entire post-band catalog (plus a pair from while the Fab Four were still in business). As with any attempt to cover Beatles-related music, results are hit and miss, with kudos going to Snow Patrol and the Postal Service for capturing the starkness of "Isolation" and "Grow Old with Me," respectively, Mexican rock band Jaguares for uncovering the fear and fury in "Gimme Some Truth," and (surprise!) Christina Aguilera for nailing the complex composition and mood of "Mother." Other highlights include Jackson Browne's piano-led "Oh My Love," Green Day's louder straight take on "Working Class Hero," and the Black Eyed Peas turning "Power to the People" into a gospelly protest. Will resurrecting 30-to-40-year-old messages of peace and love be enough to help end the brutalities in Darfur? That remains to be seen. But selecting John Lennon as the author of those messages will make people listen and, with this collection, may keep them listening.