A dozen years ago, if someone told me that one of the liveliest, most inventive party albums of the year would come from a band originally associated with wedding celebrations and beer festivals, I would have been all, "Yeah, sure, you bet." If it was further explained that the band's roots were much closer to polka than rock, funk or hip-hop, I would have responded, "Don't push it." But nowadays, I'm familiar with the Boban i Marko Markovic Orkestar, whose retrospective Golden Horns will lighten the heart and lift the feet as surely as anything you'll hear in 2012.
Cheb i Sabbah's life traces an almost fairy-tale perfect path through the evolution of what's now called world music. Born in Algeria in 1947, he absorbed the Judeo-Arabic Andalusian music of his local culture before he joined the '60s rebellion and became a 17-year-old DJ playing soul 45s in Paris. By the end of the decade, he'd moved to New York and become friends with trumpeter Don Cherry, famous for his association with Ornette Coleman and a pioneer in the concept of multicultural music.
I have to hand it to the Putumayo label. Since it started as a soundtrack-provider to a clothing store in the early '90s, the operation has placed racks of CDs with friendly-primitivist art by Nicola Heindl into Starbucks and Whole Foods everywhere. Putumayo is as responsible as anything for making music buyers ask "Where's the world music section?" in shops or online.
In 1968, Hugh Masekela was not quite 30 years old and though he was in exile from his homeland of South Africa, he seemed ready to become at home on the American jazz and pop markets. That summer, he had scored a number one single, "Grazing in the Grass." A year earlier, he'd been one of the few international performers at the 1967 Monterrey International Pop Festival and had appeared in its D.A. Pennebaker documentary. Yet strangely enough, over the next 45 years Masekela never quite found his sweet spot.