Siwan, the transcultural, trans-idiomatic musical collective led by Norwegian keyboardist/composer Jon Balke, continues along its special path, with new music inspired by the creative spirit of Al-Andalus. The ensemble weaves lines of communication between musicians from multiple traditions and locations. Among the texts set by Balke on Siwan’s third album and persuasively sung by Algerian vocalist Mona Boutchebak are verses by Ummayad princess Wallada bint al-Mustakfi (1010-1091) and contemporaries including Ibn Zaydun (1003-1071) and Ibn Sara As-Santarini (1043-1123). Hafla was recorded in May and June 2021 at Village Recording Studios, in Copenhagen.

These young musicians from Egypt, Turkey, Portugal and Italy bridge the distance between the shores and sonic worlds of a rapidly changing region. Their first album, recorded in Paris, blends both timbres and backgrounds in a unique artistic collaboration with Festival d’Aix-en-Provence, supported by Abu Dhabi Festival. The composition process is a compromise between the written score — the notes on the stave — with an exclusively oral tradition, in which the theme is developed only by those taking part, first by listening to it and then by repeating it. Their music is influenced by the folk music of each country and by much improvisation and jazz, and uses melodies from the European classical tradition blended with rhythms and instruments of the Middle East.

Himekami (姫神) is a Japanese musical group. The name is derived from Mount Himekami in Morioka, Iwate Prefecture. The group was founded in 1980 by composer Yoshiaki Hoshi as Himekami Sensation (姫神せんせいしょん Himekami Senseishon), and includes synthesizer player Yoshiki Hoshi (星吉紀) and vocalists Wakako Nakajima, Tomoko Fujii, Junko Shiwa, and Yoriko Sano. The group changed its name to Himekami in 1984.

A few years ago, musician, writer and philosopher David Rothenberg invited me to join him in several musical projects involving the sounds of unique birds from around the world.

Souad Massi is that rarest of Algerian performers – she doesn't sing rai music. But more than that, she's an accomplished singer/songwriter, a kind of North African Tracy Chapman, although she works in the Maghrebi genre of sha'bi as much as she does in folk music or soft rock. Electric guitars and touches of flamenco, oud, and the Arabic bass gimbri all help bring a real distinctiveness to her sound, which certainly has more in common with many American '60s protest singers than her contemporaries in Africa (indeed, to some she's Joan Baez reborn). Coke's production (he has worked with Ben Harper) is very sympathetic, bringing a live feel to the record ("Matebkiche" is, in fact, completely live). "Bladi" is a perfectly catchy song, its oud line deftly leading into Massi's smoky voice, and "Nekreh El Kelb" has a vital urgency.

Flutist Yulia Musayelyan’s“Unsaid” tastefully combines global folk traditions with her own ingenuity to leave an irrevocable mark on modern jazz. Where some things cannot be expressed with words, instrumental music speaks. This is the realm of "Unsaid", new album from Yulia Musayelyan Quartet, to be released Jule 19th, 2020, on Next Level, an imprint of Outside In Music.

This album explores the experience of foreigners in France. I see myself as belonging to a long genealogy of American artists who moved to Paris to escape the USA, a country that does not support its creators. Unlike my illustrious predecessors, I arrived in France during a pandemic that paralyzed the Parisian artistic scene. Paradoxically, the cancellation of live performances made it easier for me to collaborate with Parisian musicians and focus on composing. Rooted in the values and approaches of jazz, this album offers a musical view of Paris in the Covid-19 era. The ensemble’s direction, concept, and instrumentation is electronic and contemporary, using musical languages outside of the jazz tradition. Notably it mobilizes concepts from South Indian Carnatic music and North Africa. If French jazz musicians tend to mystify the New York and American music scene, having made the reverse journey, my music celebrates the mixing of culture that makes Paris a musical center.

Recorded in Ghana in 1981, Mick Fleetwood's solo debut reveals more diversity and depth of feeling than any of Fleetwood Mac's multi-platinum monsters. Six of the tracks are not overt attempts at worldbeat, instead using a variety of West African musicians as sidemen, sidewomen, and, in the case of drum ensemble Ebaali Gbiko, sidechildren. Of these six tracks, several stand out. "Walk a Thin Line," written by Fleetwood Mac guitarist Lindsey Buckingham, is an infectious pop song blending Adjo Group's enchanting backing vocals with guest George Harrison's lush 12-string and slide guitars. Another Fleetwood Mac veteran, Peter Greenbaum (aka Peter Green), accompanies a multinational percussion section for a remake of his "Rattlesnake Shake," originally found on Then Play On. Even the Buddy Holly classic "Not Fade Away" gets supercharged with a percussion ensemble made up of Fleetwood on drums and Lord Tiki and Adjo Group on hand drums and percussion. The West African tracks that make up the remainder of the album are pure pleasure.

The ancient, shamanistic, musical traditions of the Samis of northern Scandanavia, in what was once known as Lapland, are given a modern twist by vocalist and drummer Mari Boine (Persen). Although her highly rhythmic songs are rooted in the wordless, yodeling-like, vocal style of yoik (or joik), Boine's arrangements incorporate influences of jazz, rock and other ethnic elements.

Fazer’s music cannot simply be described as Jazz; the Munich band is shaped by the experimental pop music of Talk Talk, the Afrobeat of Fela Kuti, the Krautrock of Can and the dub techno of Rhythm & Sound, but masterfully take aspects of all this and more, to create their own sonic identity. Each player and their instrument has an individuality, but together they blend into an organic and flowing overall sound.

Like Greatest Hits of the Kali Yuga, The Best of Krishna Das samples the singer's earlier devotional works, here drawing upon his albums One Track Heart, Pilgrim Heart, Breath of the Heart, Live on Earth, and Door of Faith. A devotee of Maharaj Ji Neem Karoli Baba, Krishna Das has spent much of his adult life making good on his vow to use his singing voice to alleviate suffering in the world. Krishna Das is that most wonderful blend of Eastern and Western cultures; originally a resident of Long Island, N.Y., he studied in northern India as a young man and has since spent decades reinterpreting the sacred music of that land in ways that are pleasant and often surprising. As a man who sounds at times like Waylon Jennings and who is obviously enamored of the "lila" or divine playfulness, Krishna Das seems to enjoy deliberately toying with the unusual and even humorous aspects of the East/West dichotomy, as when on the album One Track Heart he sang a "Krishna Waltz" that sounded more than a little like the old cowboy tune "Get Along Little Dogies." As an encapsulation of his life's work, this Krishna Das best-of collection is entirely devoted to Sri Neem Karoli Baba and through him to the One Deity with a thousand names and as many aspects as there are atoms in the universe.

Annie Hilsberg and Robert Matt, better known as Yulara, achieve their desire to bring people of different cultures together through the power of music on their third release for the Higher Octave label. Future Tribe spotlights the duo's increasingly jazzy, up-tempo direction, with tracks featuring guest artists Afro-pop superstar Angelique Kidjo, smooth jazz guitarist Brian Hughes, and new age legend Cusco. Annie Hilsberg shows tremendous musical growth on 12 songs that beautifully reflect her soprano and alto saxophones, flutes, and vocal talents. Robert Matt's keyboards and programming add several layers of ambient grooves and sampled nature sounds into an organic fusion…

"Fantastic studio recording, caught by Taylor Hales at Chicago's legendary Electrical Audio, documenting the first full meeting of all the players on this album. Mako Sica, at this point in time revolve around the core duo of Przemyslaw Krys Drazek (electric trumpet, mandolin, electric guitar) and Brent Fuscaldo (vocals, electric bass, harmonica, thumb piano, gong, percussion). For this session, these two are joined once again by Chicago's always-revelatory percussionist, Hamid Drake, with whom they have previously recorded Ronda (FTR 409LP) and Balancing Tear (FTR 513LP). In addition, Ourania features the upright bass and shamisen of Tasu Aoki (Drake's longtime partner in Fred Anderson's trio).

Kitaro is an amazingly talented individual. He has been one of the world's premier electronic composers and performers for decades. During that time, he has created some of the most memorable music in the new age community. His output has been both prolific and consistent. It is difficult to review his albums because they only compare to each other. Tenku is a brilliantly lyrical yet entirely instrumental CD. Kitaro speaks volumes with his synthesizers. These romantic interludes are full of gentle melodies and lush synth washes. The atmospheres are vibrant and bold. They are connected by wispy drones. There are no dark overtones or edges; this is upbeat, pastoral ambience. There are few similar artists, but fans of Vangelis, Suzanne Ciani, Constance Demby, and Dean Evenson are likely to enjoy Kitaro's music as well.