Dalston was the place on Friday night, as the Sun Ra Arkestra put on a trademark display of Afro-jazz excellence in the intimate surrounds of Café Oto. Jazz pioneer Sun Ra might have been dead since 1993, but his influential big band is very much alive and capable of puffing their way through marathon sets.

This was a somewhat nostalgic look at the rise of “World Music” as a genre, starting in the Eighties when the term was first used, essentially as a marketing tool. As the ever ebullient Andy Kershaw put it, the problem was where in record stores “you could put a choir of Bulgarian tractor drivers next to some hot shot guitar slinger from Guinea-Bissau".

Why are the Malians always punching way above their weight in music? There may be some historical reasons. The French always were more welcoming to the culture of their empire than the Brits (and more used to foreign-language music), while Paris became a great centre of West African music, from where it was disseminated over Europe. It’s also true that some of the most influential gatekeepers here – such as Lucy Duran (who presented this concert and has been to Mali about 50 times) are ardent Mali-philes.

Imagine an aural swoon of a song like a mermaid’s sigh preceding one which introduces Saint-Saëns’s The Carnival of the Animals to free-jazz skronk. After that, Laurie Anderson pops along to take on the soft soul of the early Seventies Isley Brothers. An evening with Julia Holter encompasses all of that, yet knits it all together gracefully to make a whole like nothing else. Despite the fleetingly familiar elements, it couldn’t really sound ordinary: her chosen live set up supplements her own keyboard with drums, a violinist, cellist and saxophonist. Hardly a regular band.

R Stevie Moore: Personal Appeal

Sandra, 14, has worked out what it will be like if she marries One Direction’s Harry Styles. “His morning voice would be amazing,” she says, thinking forward to when the first thing she hears each day is the croak with which he greets the morning and her. Pop groups with fans are nothing new, and with them come ranks of the obsessive. Crazy About One Direction's twist was to explore the fresh landscape of Twitter-aided, light-speed-connected fandom of girls and young women under the spell of One Direction, the world’s most popular boy band.

“That was a bit of a dog’s breakfast,” said the guy in the row behind. Yes, but then the said canine repast can also no doubt be nutritious and delicious, for dogs anyway. The most dogs-breakfasty (in the bad sense) moment was right at the end, when the Stranglers played their greatest song “Golden Brown”, their immortal chanson to a girl and heroin.

Eddie Noack: Psycho – The K-Ark and Allstar Recordings 1962–69

Camp Bestival is overrun with children, even the night is alive with them. Where WOMAD is full of old hippies, Camp Bestival is full of raver-parents who refuse to stop shaking a party limb, even if they must haul little Finlay around on an exotic, duvet-filled gurney to do so. It creates a unique atmosphere, a bit bourgeois but just the right amount of wild, inner children meeting actual children to wobble about to Benga basslines.

Think of the ingredients you look for in a great jazz record – inspired, exploratory improv, the complete reinvention of standards, ear-catching arrangements, sonorities you've never heard before – and this new big band recording from Mike Gibbs delivers them all. By the bucketload.