Jazz Dari Angkasapuri and Tiga Trombone are two albums dedicated to giants of Malaysian jazz. The first collects compositions by Johari Salleh, while the second focuses on work by Alfonso Soliano.

In that wide field commonly known as world music, ancient traditions co-exist with cutting edge experiment. 

Geese may be the most buzz-worthy band in the world these days, but even they cannot get away with teasing a Glasgow crowd too much. After something politely described by singer Cameron Winter as a “phallic object” was lobbed onstage, the frontman larked about with it, suggesting he might mimic a sexual act. As soon as he pulled it away from his lips, boos descended in force from the always lively throng squeezed together on a sweatbox of a dancefloor.

Exactly how Ronnie Wood has reached the age of 79, after decades of rock’n’roll debauchery with the Faces and the Rolling Stones and surviving cancer twice, passeth all understanding. He even seems to have managed to hang on to a full head of hair, though advanced tonsorial technology may have had a part to play here. Anyway, here he is back on stage with the band he calls AMMO, and kicking off a tour which will take him all around Europe before he nips over to South America for some more dates.

“The Laughing Gnome” was David Bowie’s second single for the Deram label. It was released on 14 April 1967. That same day, he was on stage at the Ludwick Youth Centre in Welwyn Garden City. He was appearing as the singer in a band named The Riot Squad. Despite his solo status and on-going contractual tie with Deram – through its parent label Decca – he’d joined the band a month earlier. Curious.

Miles Davis’s centenary this year has led to some fascinating work. The MILES play with Jay Phelps at Southwark Playhouse Borough in February – reviewed here – has been the most thought-provoking of the ventures so far. The Theo Croker Mixtape at the Festival Hall In March had only the briefest and most cursory glimpses of Miles, but did welcome Gary Bartz to blast us from the past. Ingrid Jensen was on imperious form with the Porgy and Bess album re-creation at Guildhall in May.

“My Lost One”, Materia’s second track, is remarkable. Exemplifying the Julia Holter ethos to the max, it begins wispily with interweaving rippling electric piano figures, a whispered, echoey vocal and slippery acoustic bass. Gradually, grandeur is assumed: a sonic architecture soaring into and beyond the clouds, and outwards into the wider cosmos.

Just over 24 hours before Idlewild stepped out at the Kelvingrove Bandstand, the much ballyhooed solar eclipse had proved a damp squib for much of Scotland, with cloudy weather obscuring any views. With inevitable irony, the following day brought clear skies and sunshine, meaning the audience for this outdoor Glasgow show were basking in brightness and warmth for the arrival of Roddy Woomble and company, a band now holding indie veteran status.

The Adverts’ debut single was released by Stiff Records in late April 1977. The top side of the “One Chord Wonders” / “Quick Step” pairing was a dry humoured assessment of the state of play in British punk. It was and is a remarkable record.

Unlike in Britain, where the bar for entry is more survival than talent, “national treasure” is not a term in such wide currency in America. But Mavis Staples is indeed a National Treasure – rather, an International Treasure – writ large.