The surprises linger longest. The things you’re not prepared for, the things of which you’ve got little foreknowledge. Lykke Li’s Wounded Rhymes was amazing, and she was equally astonishing live, too. Fleet Foxes's Helplessness Blues was more than a consolidation on their debut and The War On Drugs’s Slave Ambient was a masterpiece. But you already knew to keep an eye on these three. Things arriving by stealth had the greatest impact.

2011 was a year when the wheels of global history cranked noticeably forward, the news always full of images that will be in school text books within a decade. It was also the year when, for most of us, “a bit peeved” became “utterly livid” that greedy, over-privileged vermin had gambled and lost all our money and were clearly getting away with it, unhindered.

Glass crunches underfoot. It’s been raining constantly, but the odour reveals that a fair amount of what's in the cobbled street's central gutter is urine. Everyone appears to be drunk. The French equivalent of crusties aren’t content with one dog-on-string. Some have four. During the annual Trans Musicales festival, Saturday night in and around the Place St-Anne of Brittany’s capital Rennes is a keep-you-on-your-toes experience.

That Alan Yentob gets around. I’ve run into him backstage during Jay Z's set at Glastonbury and in a jazz club in Poland, and here we found him in Rajasthan fronting a fascinating and well-shot programme, albeit workmanlike rather than really inspired, mostly set in one of the richest traditional music areas of India.

Thiruvananthapuram, capital city of the state of Kerala in the far south-west of India, is as crowded with people as its name is with syllables. By mid-November, most of the monsoon rains have passed and the city is bathed in a stiflingly sticky wet heat. The main thoroughfare, Mahatma Gandhi Road - a statue of the great man stands at an intersection garlanded with orange and yellow flowers - is a constant cacophony of traffic. Swarms of black-and-yellow rickshaws buzz like so many bees amid the jumble of modern cars, motorbikes, scooters and 1950s classics.

The tourist bumf talks a lot about Bucharest being “Little Paris”. If you squint while walking down the grand boulevards, you see what they mean. The crumbling Byzantine churches, the Belle Époque restaurants, the odd palatial Beaux-Arts town houses among the brutalist blocks all evoke Paris. They even have their own Arc de Triomphe and Odéon Theatre here, built on Parisian models. But don’t make a habit of squinting your eyes, as you are liable to fall down one of the myriad holes in the pavement.

The 10-day London Jazz Festival, now in its 19th year, is a diverse and international festival that embraces the unapologetically commercial Jazz Voice, the outer reaches of (free) free improv and even Abram Wilson’s Jazz for Toddlers. Despite a line-up that’s both starry and distinguished there was no single name that might encapsulate the festival’s rainbow palette. You can get a taste of its breadth from the three giants competing for our attention on the final night: Brazilian pioneer Hermeto Pascoal, guitarist Bill Frisell and free-jazz pioneer Ornette Coleman. 

I’m stood in the dusk in front of the tomb of Sheikh Hamid al-Nil as the sun sets on Khartoum, reddening in the exhaust-filled air as it deflates over a receding jumble of low-rise blocks spreading down the banks of the Nile and out towards Tuti Island, where the waters of the Blue and White Nile meet. This is no quaint, picturesque view, though you do feel you're in some ancient theatre of humanity when you land in Khartoum.

It would be hard to say which was the more breathtaking: a sunny autumn morning walk around the woody-banked loop of the River Wear, looking up at Durham’s monumental Norman cathedral from every perspective, or seeing the great edifice illuminated the previous evening with pages of the Lindisfarne Gospel, centerpiece of the city’s LUMIERE festival.

Funkier than a James Brown bridge, the mighty Soul Rebels Brass Band swung back into town last night and flattened all before them. Possessing that rare combination of serious chops, impeccable stagecraft and down-home soul, they confirmed their position as one of the most explosive live acts on the scene. From the very opening bars of Stevie Wonder's “Living for the City”, taken from their current Rounder album Unlock Your Mind, the Soul Rebels had the entire QEH off their seats.