Category: world


Hailing from Cairo, 33-year-old oud player and composer Aly Eissa is a member of the brilliant trance-inducing trio The Handover, and this is his latest solo project. His inspirations include Abdo Dagher, the oud player and violinist who performed with Oum Kalthoum, and oud master Hazem Shahin (who was declared ‘The Best Oud Player in the Arab World’ in 2002).
Eissa’s style of playing is at once rooted in Arabic tradition, Egyptian classical music and folk music traditions, while also soaring into its own improvisatory, exploratory, expansive intricacies. That he started out as a teen metalhead on guitar is another useful point on his music’s compass.
The title-track, in two parts, clocks in at a mammoth 38 minutes, an immersive,…

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It’s been a little over a year since the inaugural release of Maqām Records, musician Amir ElSaffar‘s label focused on old and new music based in various Arabic and adjacent modal traditions. New to the roster is Firas Zreik, a much-acclaimed composer and kanunist who draws on his Palestinian roots in his art. Zreik’s new album Tarabesque is a sparkling example of this work and a brilliant addition to Maqām’s growing repertoire. A cross-genre record flowing from a transnational confluence of instruments and styles, Tarabesque is a kind of platonic ideal of some sector of contemporary jazz: dialogic, complex, and made so with a great sense of purpose.
As the album’s name implies, Tarabesque as a project centers around the idea of tarab,…

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It has been 6 years since the GRAMMY-nominated artist Somi Kakoma released a collection of original songs, as she spent that time immersed in theater and multidisciplinary performance. Now returning to her first love, songwriting/singing, she looks inward on the lush What Does It Take to Bloom?, a multitiered effort rooted in jazz, Ghana-based highlife, and theatrical grandeur. Co-producing with Benjamin James (The Cavemen), Somi’s musical journey is a globe-trotting, multi-cultural affair. The album was written and recorded in various locations (Dakar, Lagos, Paris, and New York), but it has a thematic musical/lyrical theme running through it as Kakoma searches for stability and internal meaning in a fractured world.
Opening with three jazz-based efforts, Somi…

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Between snatches of harried breath and taxed adrenal glands, our frail mortality begs us to slow down. Distressing headlines, leaning towers of obligations, and the holes that fast living leaves in our memories as it eats away at our sanity can leave us craving reminders that life is more than a series of frantically checked boxes.
​London-based Brazilian artist Marcelo Frota, MOMO., has crafted a listening experience in his new album, Tum Tum Tum, that acts as a buffer from the frenzy. Rhythmically confident and seasoned with grace, MOMO.’s eighth collection invites us into intimate moments and quiet reflections. Across its measured 25 minutes, Tum Tum Tum weaves a dream of sun-splashed Brazilian warmth through samba,…

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Neapolitan duo Nu Genea have evolved from producing cosmic house music to making a much more organic, vintage-sounding blend of disco, funk, and boogie which incorporates global influences including Mediterranean pop, MPB, and Afrobeat. They released an album with pioneering Afrobeat drummer Tony Allen in 2016, and both of their subsequent LPs, 2018’s Nuova Napoli and 2022’s Bar Mediterraneo, have been in demand, selling out multiple pressings.
People of the Moon, Nu Genea’s 2026 effort, expands their scope, with a greater amount of guest musicians and songs sung in five languages, yet it also feels like the group is continually refining their sound and writing catchier material. The two songs featuring Spanish…

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Joyce & Tutty Moreno, the legendary architects of Brazilian sophisticated samba, have partnered with Adrian Younge to complete JID027 — a deeply emotional album born from tragedy. Set in motion by the endorsement of their late friend João Donato, the project became a tribute to him following his sudden passing. The result is a breathtaking collection of improvisation, poetry, and resilience.
Joyce Moreno is like the Joni Mitchell of Brazil, a singular, multi-talented paragon of feminine musical energy. Unapologetically independent, Joyce is a masterful guitar player, angelic vocalist and inspired composer who’s blazed her own musical trail since her start in the music business in the sixties as an outspoken…

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Latin America is a true musical universe – a fusion of countless influences, genres and references layered in endless ways. One undeniable representative of this universe is the Argentine trio Tremor (Leonardo Martinelli, Gerardo Farez and Camilo Carabajal), who first emerged nearly two decades ago on Buenos Aires’ alternative music scene. Now, with a refreshed line-up featuring new member Alex Musatov on violin and synthesizers, they return with Takuy. The word ‘Takuy’ comes from Quechua and carries two meanings: the first is “to mix or combine”, while the second is “to be, to exist, remain”. Both meanings perfectly reflect the spirit of the band. Drawing from electronic music, they blend Creole psychedelia with Argentine folk explorations, enriched by a wide…

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Kaiso Power: Sound Revolution in Trinidad 1970- 1980 is a collection of rare jazz, calypso and percussive gems from Trinidad and Tobago from the revolutionary generation of the ’70s, bringing radical new political vision and reclaiming ancient spiritual consciousness through music.
…From Soundway comes a slim (just ten tracks) and somewhat understated, but no less sublime, compilation of calypso and jazz from a time of political unrest and sonic experimentation in Trinidad. It’s with the second track, ‘Tabu’, that this compilation makes its personality clear – a laid-back feel that yields dancing alongside revolution. ‘River Comes Down’ is a welcome moment of slightly wilder abandon among the more easygoing pieces – it’s also one of…

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This album is such a remarkable document, and on so many levels. Perhaps its main “story” is that it could well be the very last studio recording by Jack DeJohnette (1942-2025), having been made during sessions on two successive days at a studio near the great drummer’s home just outside Woodstock in upstate New York, at a time when he was already avoiding travel, and, as it was to turn out, not quite a year before he died.
DeJohnette was indisputably one of jazz’s greats and the sheer wonder of his musicianship shines through on this wonderful record. As Ethan Iverson has written, among jazz drummers “Elvin-Tony-Jack was and is the holy trinity”, referring to Jones-Williams-DeJohnette. DeJohnette has almost 100 album credits on ECM, notably…

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Jocelyn Balu’s debut album is one of a Congolese artist stepping into a lineage and making it breathe again. Rooted in the rumba of the ’40s to ’70s, Borumba follows the music’s Atlantic circle, from Kongo traditions and forced exile to Cuba and back. But the nine tracks never treat heritage as museum glass. They are warm, alert, political and gloriously alive, with every arrangement revealing fresh rhythmic depth, historical purpose, memory, grace and delight.
Balu’s golden, gospel-trained voice is the album’s centre of gravity, opening with a solemn a cappella on ‘Mobembo’ before it unfurls its elegant guitars, elastic bass and dancing percussion from a band assembled in southern France. The title-track states the mission with irresistible grace.

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Born in rural Bandjoun and raised in Yaoundé, the capital of Cameroon, Kareyce Fotso is the daughter of a sculptor father and a businesswoman mother who also worked as a professional mourner. A former biochemistry student, she chose theatre and music instead. Accompanying herself on instruments including guitar, bells, percussion and sanza, as she does on this, her fifth album, she has since become one of Central Africa’s most distinctive voices. Her métier is a sort of bluesy Afropop with social conscience and strong emotional wallop. On Gwà, named after a traditional women’s healing circle, she turns that voice towards testimony, solidarity and survival, delivering a song cycle devoted to female survivors speaking truth to power.

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Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.
The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos…

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Can you say where you are from after many years living in a country not your own? Can you belong to more than one place at the same time? These are the questions Curió Curió, a Brazilian-German duo, attempts to answer on their debut album.
Actress and singer Luiza Monteiro moved out from her hometown of Rio de Janeiro nine years ago to pursue a career in Europe. There she met Dustin Braun, a German producer, best known for his work with Berlin-based Turkish alternative musician Peki Momés, forming Curió Curió. After almost a decade abroad, Monteiro felt she was “not the same person she’d been in Rio,” but not fully from her new home, either. To address this ambiguity, Braun wrote music that is definitely Brazilian — elegant, groovy, sensual,…

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Roberto Carlos Lange and Fabi Reyna feel like kindred spirits. Long before they met two summers ago, they were making music — as Helado Negro and Reyna Tropical, respectively — building their names with heart-on-your-sleeve electronic and indie-folk songs that touch on diaspora, longing, and love.
On their collaborative record, Helado Tropical, these two worlds naturally collapse into each other, as the seasoned emotional excavators lean into their shared strengths. The result goes down as easy as mango-champagne sorbet.
These nine songs—or perhaps seven, since “Luna” and “Sol” (another iconic pair) flow seamlessly into and out of the floaty, syncopated standout track “Fluye”—were born from a three-day…

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Swampy surf rock, psychedelic Peruvian chicha and ambient blues – within Brian J. Gitkin’s global genre-hopping, guitar-twanging discography, these are the elements that keep coming back around. And they’re here again on his fifth album, together with touches of New Orleans music and gospel. Although he plays most of the instruments here himself, Gitkin’s real speciality is in his composition, where he pulls on the threads of these different styles and reweaves them together so confidently that the blend feels entirely natural. What really binds it all is the atmosphere. There is a nostalgic but slightly unreal quality across the album’s six instrumentals and four songs, the guitar ripples and organ reverbs evoking romantic and somewhat dreamlike images…

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Heavy Metal (Live! Nairobi International Casino!) is a landmark Zamrock album by Paul Ngozi and the Ngozi Family Band, originally captured live-in-the-studio style in 1977.
Blending psychedelic rock, heavy fuzz guitar effects, and African rhythms, it stands as a cornerstone of the ’70s Zambian rock movement. The album relies heavily on Ngozi’s signature “Gee Flanger” guitar effects pedal, creating a swirling, psychedelic fuzz texture that drives tracks like “Heavy Metal” and “Dangerous Woman”
…Zamrock was a bona-fide rock scene, with albums released through independent labels based in Zambia. This music scene was complete, encompassing the genres of rock, acid folk, fusion, Afro-beat, South African jazz and…

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Coming out of Montréal and Canada’s rich Persian music scene, this debut album, Unveiled, from Parisa Karimi Molan is a revelation. Growing up singing in secret in Iran, Molan was forbidden, like all other women, from performing publicly. Therefore, she was taught behind closed doors by masters, including Iranian diva Parissa, who shared the art of avaz, a centuries-old classical style of Iranian singing. Living in Montréal now, Molan’s free to sing again, and you can hear the joy and power she brings to the music.
Joined by Tehrani Drom – Iranian musicians on setar and tar, and a surprisingly great accordionist from Moldova who fits right in – the songs here are rooted in both folk and Persian classical traditions. Molan shines a spotlight…

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America is Orquesta Akokán’s fourth album. In a relatively short time, the multi-generational, international big band has won over audiences from Miami to Tokyo and many stops between with their reinvigorated take on the golden era of Cuban mambo, rhumba, salsa, bugalu, Latin soul, tumbao, and cha-cha-cha all wedded to 21st century Latin jazz.
Issued just a week after the U.S.’s 250th anniversary, the set, recorded live to tape by Daptone’s Gabriel Roth at Penrose Recorders, still relies heavily on always swinging mambo, at once intimate and poignant. They debut new vocalists in singer/musicologist/recording artist Mariam Elhajli (who has worked with Mali Obomsawin, Adam O’Farrill, Jason Lindner…

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