While Lady Gaga’s conceptual antics left the crowd cold in Camden last Sunday, Björk’s Ally Pally spectacular last night showcased the musical artistry that sets her so far above other female pop pretenders. While Gaga’s affected oddities have always jarred with the mainstream sensibilities of her music, Björk’s strangeness perfectly fits and feeds her sound.

Gregory Porter's Blue Note debut provides one of the biggest sugar rushes of auditory pleasure you'll hear this year. Grounded in jazz but heavily seasoned with the blues, gospel and soul, it's a superbly paced album, ranging from the poetic tableaux of ballad “When Love Was King” to the unstoppable, hand clapping moto perpetuo of the title track.

The Beach Boys: Made in California

You either get Youssou N’Dour, or you don’t. For millions on his home turf, the Senegalese singer is a major cultural figure: the street urchin-turned-superstar who almost became president. For large numbers of Western fellow travellers he’s the sexiest, most charismatic figure to emerge from the whole world music phenomenon.

Pianist, composer, and band leader Django Bates was so inspired by Charlie Parker as a teenager that he used to whistle his tunes on the train. This led not to abuse, but the acquaintance (at Brixton station) of saxophonist Steve Buckley. Returning to the Proms this week for the first time since his 1987 debut with Loose Tubes, Bates paid homage with a set of mainly Parker adaptations, performed by his trio, Beloved, in a new collaboration with the Swedish Norrbotten Big Band.

Sly & the Family Stone: Higher!

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.