The titular character in Juraj Herz’s Morgiana plays a peripheral though important role, some of the film’s most striking visual flourishes (courtesy of legendary cinematographer Jaroslav Kučera) being her point-of-view shots while she scurries in and around the dusty lodge owned by her mistress Viktoria. Morgiana is actually a very photogenic Siamese cat, the perfect companion to Iva Janžurová’s witch-like Viktoria.

Mali’s Tuareg superstars, Tinariwen have been burnishing their assouf desert blues sounds with the echoes of folk and country sounds from the rural USA for some time – most especially on their 2014 Emmaar and more recent Amadjar albums. However, these foreign sounds have never felt more than a bit of decoration before now.

“Yerimayo Celebration”, which opens Baaba Maal’s brilliant and superbly paced new album, sets the tone: it starts in the mists of time, as it were, drawing deep on the minimal soul of traditional West African music: a plucked ngoni, and a haunting voice. The spirits have been summoned.

Then, the song explodes, driven by the rhythmic clatter of the sabar drums, so characteristic of the region, with subtle voice distortions and electronic effects. This is fusion of the ancient and new that works wonderfully.

It’s been five years since the release of Malian musician and actor Fatoumata Diawara’s breakout album, Fento, and just short of a year since her magnificent headline appearance on the first day of 2022’s Womad Festival. So, it is with some anticipation that her star-studied follow-up has finally appeared – as expected though, it is an absolute peach. 

When is the right moment for a musician to step out of the shadows and release an album in her/his own name? Vicente Archer, one of the most in-demand NYC bassists around, has certainly taken his time. In his late forties, and with appearances on over 150 albums by others to his name, he explains: “I wanted to find something that’s more myself.” Short Stories will be released on the Canadian Cellar Live label. 

In Mark Jenkin’s haunted Cornwall, time warps and bends. He is a child of Nic Roeg’s Seventies masterworks (Walkabout, Don’t Look Now, The Man Who Fell To Earth), whose kaleidoscopic slivering of time expressed an elliptical, sensual mind. Jenkin too has built his own time and space with self-described “seemingly crazy” antique techniques, limiting him to clockwork, 16mm film and post-synch sound.

On Brian Christinzio’s sixth album as BC Camplight, he wants listeners to know about his recent experiences and their effect on him. Herewith, a mostly unembroidered account of how he sees things. When allusiveness arrives, the metaphors are easy to interpret. The last three tracks are titled “Going Out on a Low Note”, “I'm Ugly” and “The Mourning”.

New Orleans “is not a music business city, it’s a music culture city,” says David Shaw of The Revivalists, one of the interviewees in Jazz Fest: A New Orleans Story.

Some rock bands base their career around being musically fluid, an ever-changing what-will-they-do-next? conundrum. Others, such as, famously, Motörhead and The Ramones, simply go on doing their thing, honing it, repeating ad infinitum, with an almost zen devotion. The results, at their best, are vigorously on-point.

Aaron Jerome has always cut his own path through British music. After a few jazzy, groovy experiments under his own name in the 00s, he came dramatically to prominence at the end of that decade as SBTRKT. He was always associated with the post-dubstep moment where the UK bass subcultures of dubstep and grime folded back into house and techno, launching big names like Hessle Audio and Disclosure – but in fact he didn’t quite fit there.