World Beat Collections--Striking the Right Notes

Quiz time: What do the major pop music styles of Colombia sound like?

Who are the big names on the Kenyan pop scene these days?

What exactly is Bhangra pop, anyway?

Most pop music fans don’t exactly have those answers on the tip of their tongues. But adventurous listeners could find out by checking into the various artist compilations that are the focus of this edition of “On the Offbeat,” a periodic review of roots, ethnic and non-mainstream pop music from around the globe.

Those samplers are often perfect for finding out if a particular style or the music of a certain country or region hits the spot. It’s possible to explore the historical roots of a contemporary style or discover a favorite label, producer, or crack team of session musicians to keep tabs on.

Then there are the unknown artists who unexpectedly pop up. Take the “Nairobi Beat” album--the Maroon Commandos were an unknown quantity but “Amua Nikuiachie Kazi” certainly whets the appetite for more from the Kenyan Army’s 7th Battalion band.

COLOMBIAN “Cumbias Y Gaitas Famosas de Colombia, Vols. 1-3” Discos Fuentes (Colombian imports) “Fiesta Vallenata” Shanachie

Typical--no one paid any attention to Colombian pop music for years and suddenly records are all over the place. “Fiesta Vallenata,” part of Shanachie’s exemplary World Beat/Ethno Pop series, focuses on the accordion-driven regional style from Colombia’s Caribbean coast. The sprightly sound, with swirling accordion lines, propulsive percussion and often wild bass lines that obey a crazed logic of their own, has much of the festive flavor of norteno music.

The “Cumbias Y Gaitas” series is more intriguing. Volume 3 is split evenly between the two styles--cumbias, the major indigenous rhythm developed in Columbia, dominates its slightly more upbeat gaita offspring on the other collections. The tracks probably date from the late ‘50s or early ‘60s--some have a loopy energy and percussive undertow redolent of Jamaican ska and others a big band sound evoking images of a Ricky Ricardo-style conga line snaking around the dance floor.

It’s vibrant dance music featuring anything from accordion and blowsy trombones to high-flying clarinets and a raucous electric rhythm guitar on “La Magadalena.” Vocal tracks are featured on Vol. 1, instrumentals prevail on the other two albums and Volume 2 emerges as the best single collection courtesy of its powerful opening punch of “Cumbia Cienaguera,” “Cumbia Campesina,” and “La Magdalena.” But grab any you see--Discos Fuentes reportedly stopped selling these albums overseas to focus attention on more recent releases.

AFRICAN “The Nairobi Beat: Kenyan Pop Music Today” Rounder

A professor of cultural anthropology compiled this collection and most of the first side sounds like it. The music may be representative of Kenyan pop styles--which echo the lightly textured, multiple guitar sound of the popular Zairian sound--but the clinical performances lack the sparkle and excitement pop fans cherish.

That lasts until the Maroon Commandos kick into 8 1/2 minutes of biting guitars, evocatively rough vocals and delightful horns that unexpectedly enter halfway through the arrangement. “The Nairobi Beat” never loses that momentum, with particularly strong performances by the Gatundu Boys and the Mayanja Bungoma Jazz Band standing out.

LATIN AMERICAN “We Got Latin Soul,” “Latino Club!” Caliente/Charly (UK imports)

The Latin pop/salsa spectrum has received short shrift in the world music surge but now Charly--the English label whose blues/soul/R&B; re-issues have been invaluable--has inaugurated its Caliente subsidiary. “Latin Soul” focuses on material from the ‘60s, when Ray Barretto’s “El Watusi” and Joe Cuba’s “Bang Bang” hit the pop charts with a compact riff/hook, vocal chant and percussion break format. “Latino Club!” was assembled by British club deejays and features ‘70s material more oriented toward instrumental solos flashing over potent dance grooves. Both are solid--the choice really boils down to individual preference for tight songs or more expansive instrumental work.

CARIBBEAN “Port of Spain Shuffle,” “Caribbean Connections” New Cross (UK import)

These volumes capture the West Indian calypso performers, including the notable veterans Lord Kitchener and Lord Beginner, who adapted their sunny, tropical sound and topical commentary to life in Great Britain after migrating there in the late ‘40s and early ‘50s. Despite such well-known tracks as Lion’s “Ugly Woman” and the original of “Man Smart and Woman Smarter” (recorded by Robert Palmer years ago), “Port of Spain Shuffle” is weaker. The old-timey flavor of the arrangements suffer in contrast with the snappier, jazz-infused music on “Caribbean Connections.” Some highlights there: “Nora, I Will Die a Bachelor,” and “Calypso Be,” Young Tiger’s articulately stated put-down of the be-bop brigade.