I just got back from covering the Sharq Taronalari festival in Samarkand, Uzbekistan.  That's where I met the Welsh group "Jadu" who were performing there. I had no idea what to expect when the group's music was first described to me, and admittedly I do have an initially suspicious response to musical hybrids. There are too many self-conscious ensembles cobbled together from different musical influences pushing themselves as credible fusions, (don't get me talking about the misappropriation of the term "gypsy" music!). At this point they must all prove themselves to me.

As it turns out, Jadu ("magic" in Hindi) is a band that has come together naturally and as a result the sound is completely cohesive. Pete Stacey on soprano sax and flute is a solid jazz musician who has studied the tonalities and rhythms of Indian music with the masters. Mumbai born Rajesh David  is a velvet voiced crooner whose renditions of the material give it much of its gravitas. Kelly Smith on tabla  Bryan Smith on tamboura are a son and father who have been playing -- and meditating -- together since 'way back.

Paul Uden on guitar rounds out the ensemble with sensitive rhythm and chords. His guitar work within this setting is completely about the instrument as a vehicle for the music, and it is a shame that the microphone on my camera did not pick up more of his sound... but that's as good a reason as any to check out the band’s latest LP "Aberaeron Sunset," where you can really hear his contribution.

There was no way I was going to pass up videotaping them in a perfect place like Samarkand; as a crossroads of religions and cultures it is an uncanny match for the music. When the opportunity presented itself to do a shoot in the gorgeous setting of the courtyard of Tamerlane’s Mausoleum, we jumped. It was a sunny, hot day and as we taped the band, a small group of folks gathered around and listened attentively. It was a magical session. But then again, "Jadu" means magic.

About the music: Kabir was a great mystic poet saint in India in the 15th century. Rajesh sings Kabir's words:
 'When the mind is immersed in the Divine, there are no words, only Silence. All saints and wise men say your God is within you, then why are you looking outwards?'

For more about JADU go to jadumusic.co.uk

For more of Michal's original music videos click here.

Some of the most exciting musical collaborations are happening between jazz, classical and world musicians these days. Musicians have always fed off interaction with other players, but the sheer variety of music that is available coupled with access to international artists has led to some truly exquisite sounds. In the classical world the work of Yo Yo Ma's Silk Road Ensemble and its spinoff collaborations between Kayhan Kalhor and Brooklyn Rider come to mind, and of course, the by now venerable Kronos Quartet and maverick violinist Giles Apap. In the jazz world the same foment is apparent (the kora seeming to be the instrument of choice these days, appearing alongside jazz heavies) and when the world music extravaganza of GlobalFEST blew into town in January, it brought Nguyen Lê's "Saiyuki" with it.

Lê's name is practically synonymous with polyglot music; witness allaboutjazz.com describing his 2006 CD "Homescape" as a combination of  "post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir. . .Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music." The man is eclectic, and joyfully so.

"Saiyuki," his latest aggregate, is a trio. In it, he has brought together Mieko Miyazaki (Japan) on koto and Prabhu Edouard (India) on tablas. (Lê played his backups in mid to low range to fatten up an otherwise treble sound.) The group's performance was one of the highlights of GlobalFEST, and I'm glad I got a chance to catch it on video, even with the uneven sound, and video quality attendant on these kinds of situations. . .note the shattered glass sound from the bar. . .oh well.

Each player brought so much of their own culture along that at times it seemed more like the music was "jazz enabled," with that form giving the musicians a more liberal harmonic matrix and greater freedom to fly. But the end result was something unusual and hard to classify; I guess "world music" as a term still has its uses.