Oumou Sangare, the Malian singer/songwriter known as the "Songbird," has released Seya, her first international release in six years. Toronto's Globe and Mail says the album's title, meaning "joy," is certainly reflected in the music, calling it "modern Malian music at its finest: sophisticated, subtle, beautifully produced ... Its cross-rhythms and flowing, hypnotic instrumental lines underpin all she does, and all she does on Seya, whether crooning, chanting, chuckling or singing with majestic power, is excellent."

Amadou & Mariam play the second of two dates in Canada tonight at Montreal's Metropolis, then head to Boston on Saturday and NYC, Philly, and DC next week. The Philadelphia Inquirer describes their sound as "a gutsy brand of African highlife with cool, languid guitar solos and deeply hypnotic rhythms." The Philadelphia Daily News calls it an "unlikely yet alluring mix" of "snaky electric guitar lines, exotic Afro-blues melodies, hip-shaking (and occasionally even hip-hop) polyrhtymic beats and haunting, dipped in melancholy vocals." The Washington Post says it's "some of the world's most irresistibly funky music," as heard on their "marvelous" new album, Welcome to Mali.

Amadou & Mariam kicked off their North American tour last night at Chicago's Park West, creating music that the Chicago Tribune's Greg Kot describes as "a steaming cauldron of Mali funk ‘n’ roll that the couple stirred, adding ingredients from countless cultures as needed. They knew when to bring it to a boil and when to let it simmer." The crowd was moving from the start, and its fervor only increased, with Amadou & Mariam's "elastic songs stretching further into a zone where the line between dance and trance blurred." The duo's music, Kot concludes, bridges "cultures, sounds and language with a grace rarely seen on a North American stage."

Floodplain, Kronos Quartet's most recent Nonesuch release features music inspired by the idea that floodplains—which are prone to devastating flooding—will experience new life after a catastrophe, just as cultures that undergo great difficulty will experience creative fertility. The New York Times finds this to be an apt metaphor and in keeping with Kronos's core beliefs, rooted in its earliest performances, which "turned the introverted quartet idiom outward through its extramusical effects and social concerns. Mr. Harrington and company have been extending that path ever since."

Wilco's new album, Wilco (the album), is due out on Nonesuch in another month, and the critical response has already begun, including, this week, from the band's two hometown papers, the Chicago Tribune and the Chicago Sun-Times. The Sun-Times gives the album 3.5 stars, asserting that "the band has cemented a reputation as one of the most creative forces in rock today" and concluding that its new songs "stand beside the best that the band has given us." The Tribune calls the band's current members "the most technically accomplished of Wilco’s many lineups ... and Wilco (the album) is a compendium of its best moves."

Allen Toussaint's The Bright Mississippi was released to great critical acclaim, followed by an equally lauded residency at New York's Village Vanguard, and a string of performances in Japan. The Wall Street Journal writes that, with the album, Toussaint keeps alive "the tradition of distinctive New Orleans pianists, within which he clearly belongs; and of jazz, which was never far from the surface of his music ...  He simply possesses each tune fully, courtesy of rolling chords, well-placed tremolos, notable restraint and the defining force of his musical presence." Blurt talks to Toussaint about the project and trusting producer Joe Henry's choice of what he calls "these wonderful songs."

Kronos Quartet's Floodplain is out now, and the reviews from the UK prove that Kronos's latest global exploration is as expansive as its repertoire. The Sunday Times gives the album four stars, calling it both "one of their most inspired so far" and "one of the albums of the year." The Guardian gives it four stars, too, calling the music "engaging, challenging, complex and rewarding." The Observer Music Monthly, in its four-star review, sees the Quartet "as intellectually engaging as ever." The Evening Standard gives Floodplain a perfect five stars, calling its repertoire "vivid and powerful ... music that grabs by the throat and doesn't let go." Scotland's Herald also gives it a perfect five stars, dubbing it "an entrancing journey."

Allen Toussaint's residency at the Village Vanguard with The Bright Mississippi band continues through Sunday. The New York Times, in its review of Tuesday's opener, writes: "New Orleans was in every phrase, with hints of swing, of humor, of sly sensuality ... It wasn’t a re-creation of old New Orleans music but a reverie on a New Orleans heritage: a lifetime of memories refined by a genteel sensibility that finds the elegance in the blues." Last night's set is now streaming at npr.org. Bob Boilen, host of NPR's All Songs Considered, previewed the show, saying, "If you listen to one jazz concert this year, tonight is your night." His NPR colleagues called it "an intimate, graceful and eminently enjoyable jazz show." New Orleans' Times-Picayune exclaims: "The Bright Mississippi is a highlight of an already remarkable career."

Kronos Quartet's latest album, Floodplain, is out today. On the album, the Quartet explores vintage pop from Egypt, folk from Azerbaijan, electronica from a Palestinian music collective, and an ambitious piece from Serbian composer Aleksandra Vrebalov. The Independent (UK) gives it four stars, calling it "a one-world project handled with suitably welcoming passion and respect." The Oregonian says the evocative metaphor of the album's title is apt for this adventurous group. "Think of Floodplain as creative fertility, as only Kronos can do ... It feels unusually current, even politically current, with music from parts of the world we often only read about. That's what we love about this string quartet: playing that is exploratory, fearless and full of intent."

John Adams led the Los Angeles Philharmonic in two performances, the orchestra's first, of his most recent opera, 2006's A Flowering Tree, at LA's Walt Disney Hall this past weekend. The Los Angeles Times says A Flowering Tree "is a miracle opera based upon an ancient folk tale from India. Magic pervades the work’s atmosphere, and a blissfully beautiful two-hour score enchants from first bar to last ... The sounds are magical." In the LA performances, "the singing was exceptional" and the Los Angeles Master Chorale "nailed everything."

Adams conducts Adams in LA Phil performances of A Flowering Tree ... Carolina Chocolate Drops do Seattle's Giant Magnet festival ... Bill Frisell Trio concludes Village Vanguard residency ... Glass goes solo at Manchester's Futuresonic Festival ... Brad Mehldau does duo and solo sets at SFJAZZ ... The Low Anthem bring the music to Brighton's Great Escape Festival ... Mandy Patinkin, Patti LuPone conclude two-week run in Cleveland ... Dawn Upshaw performs Golijov in Glasgow ... Sara Watkins winds her way up the Western states ... and more ...

Richard Goode's first-ever recording of the complete Beethoven concertos was released on Nonesuch last week. The Times (UK) gives the set a perfect five stars, describing Goode as "the pianist revered even by pianists," one whose "special gift has always been his selfless artistry: his penetrating intellect, warm heart and nimble fingers are entirely placed at the composers’ service." The review states, "Being Beethoven, Beethoven often makes contrary demands, but Goode knows just how to balance and weigh conflicting elements: argument and repose, dark and light, struggle and wit ... Throughout, the recording is warm and natural. Buy with confidence."