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Rubén Blades, Panamanian-born salsero, actor, and Harvard Law School graduate, delivers one of the most ambitious albums of his prolific career. Mundo is a feat of musical ingenuity, a sweeping, and occasionally breath-taking, excursion through sonic landscapes we once thought disparate. Firmly planted in the deep root system of salsa, Blades then weaves threads across the world's tapestry, from northern Africa to Asia Minor, to Turkey, then to Spain and on to the Americas. Unlike other recent world music gumbos, which can leave you feeling a bit dizzy with their haphazard and incoherent mix of conflicting global rhythms, Mundo is the work of a sensitive and skilled musical chef. Clearly, just because something is possible does not mean that it is permissible. Blades doesn't just meld instruments for the sake of it--i.e. because he can--but instead remains close to the internal qualities and integrity of each sound, interlacing elements that are actually compatible on both aesthetic and social levels.

Salsa provides an excellent backbone to Blades' creative meanderings. Born from the rich synthesis of Puerto Rican and Cuban rhythms and New York City's jazz orchestras in the 1960's and 70's, salsa music has a remarkable propensity to absorb and enhance seemingly incongruous sounds. Mundo begins with a beautiful trés solo by Nelson Gonzalez on "Estampa," a song whose gentle descarga feeling is the closest thing you'll get to traditional Latin American music on the entire album.

"Primogenio" exemplifies Blades initial impetus for Mundo: combining salsa rhythms with Celtic musics. Although he is not the first to make this fusion, (Salsa Celitca's "The Great Scottish Latin Adventure"), never has it felt more natural. The sinewy Irish bagpipes enter, naked and immodest. An unyielding Latin beat locks in, giving the melody depth and exposing the hip-swerving potential of Celtic sounds. Blades' lyrics speak of the beginning of humankind, how Africa gave birth to life and all of us. It is no surprise then that he forays into some traditional Malian melodies on "Jiri Son Bali."

The most extensive use of collage emerges on "Bochinches" or "Gossip"--a mysterious track mixing three or four rhythms. Opening with a Middle Eastern citar and some devious violin licks, Blades transforms himself into a flamenco singer, with all the characteristic cascading inflections and emotional vibrato. The layers proliferate. Bass provides the grounding undercurrent and a rumba-style timbal solo enters in perfect relation to the exisiting Middle Eastern groove, exposing the links and continuities between Arabic, Spanish, and Cuban music forms. The icing on this already tantalizing multi-decker cake is a piano solo playing a sizzling son.

The tender cover of Ireland's classic jig, "Danny Boy," truly typifies the Celtic/Latin fusion. Lupa Mason's soprano soars over a soft, pulsing clavé and Afro-Cuban conga riffs, revealing a sweeter and more contemplative side of the album. Blades dedicates the song to the emergency workers, police and firemen who perished in the World Trade Center disaster.

English speakers should be warned that this is a Spanish-only recording, although the CD booklet's English translations should help break down language barriers. Older fans looking for salsa pura may be a little disappointed with this striking departure into global music. But there is something for everyone here. On a purely musical level, the coming together of cultures on Mundo is a rousing social proposal for oneness. So kick up your feet to this joyful and relevant vision of humanity. If you need further convincing, it also won the Grammy this year for Best World Music Album.