The master accordionist of Colombia’s Musica Tropical movement.

Giddying soul music from early-eighties Estonia!
A rework of I See Red by Frida, from Abba, with raw fiddle, and poetic new lyrics by Velly about camels and maidens; plus an unnerving version of Feel Like Makin’ Love.
Check it out!

The joropo, pasaje and tonada (with roots in sixteenth-century Spain) played on the bandola, a pear-shaped, four-stringed guitar, made from cedar — with maracas and cuatro accompaniment.

From the Central Coast, afro music for rites and festivals, sharing with salsa drums like the cumaco (using the heel of the hand to vary pitch) and redondo, besides cow horns, car wheels, plates, sea shells.

Refined, improvisatory, endangered traditional music for a quartet of two-stringed spike-fiddle, zither, two lutes.

Soul Jazz back in Port-au-Prince after twenty years, to record again with the Drummers of the Société Absolument Guinin. Mesmeric rhythms and beats traditionally used to induce spirit possession in the Vodou religion — ‘dynamic and riveting in their intricacy and power,’ said the Quietus about the first volume.

Two EPs of storming, squinty Shangaan Electro to herald the European tour of Tiyiselani, the Tshetshas and producer Dog, in the summer of 2011.

A zinging survey of the dazzlingly diverse, thrilling, neglected releases of Gaye Mody Camara, a young Soninke raised in Mali’s Kayes region, who settled in France in 1977. He started out by selling wax, kola nuts, and other items in Paris; and in no time he was distributing cassette tapes, on his way to producing a multitude of recordings for his own label, Camara Production. A fascinating, precious insight into the modern diaspora of ancient Soninke culture, spanning out as Malian zouk, Mauritanian reggae, and a myriad of grooving, head-spinning directions. Prepared in full collaboration with Gaye Camara; with riso-printed notes.