Milo Miles

Milo Miles is Fresh Air's world-music and American-roots music critic. He is a former music editor of The Boston Phoenix.

Miles is a contributing writer for Rolling Stone magazine, and he also writes about music for The Village Voice and The New York Times.

Albums made by collections of professional studio players once had a bad reputation with the traditional rock audience. Such works were supposedly arid and chilly — more like the results of a board meeting than the recorded adventure of an organic group of fabulous friends. Some music fans may still feel that way, but they are few. Nowadays, a tight-knit gaggle of session musicians like the Analog Players Society gets points from traditionalists simply because the music is made by flesh and blood.

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.

It may seem counter-intuitive, but the history of world music proves that unfamiliar instruments and rhythms cross borders much more readily than vocal styles. There's no question that, starting in the late '60s, soul and then funk became very popular in sub-Saharan Africa. Decades of reissues show that a lot of players found their way into electric guitar, and that enriching the big beat of the West was a cinch for African percussionists.

Before Led Zeppelin, there was Iron Butterfly — these days, a very misremembered band from Los Angeles. Maybe it was the movie industry all around, but '60s garage-rock in L.A. had an expansive, almost cinematic streak. Iron Butterfly was not the most inventive band on that scene, but it became the most famous because of a single, durable, out-of-nowhere hit, "In-A-Gadda-Da-Vida." The song was 17 minutes long, and the proper thing to do on underground radio stations was the play the whole thing.

The relentless quest to reissue every decent piece of rock 'n' roll from the '60s and '70s long ago exhausted the U.S. and U.K. warehouses. The new trend for the past couple years is to dig up all sorts of so-called "funk" and "garage rock" from countries around the world. This has worked fine in Africa and South America, though few potent new performers have come to light. The surprise has been Turkey, forever underestimated and overlooked in the Western market.

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