On the New York live-music scene, Satalla is not only “world class,” it’s in a class by itself.

In only a few months, this “Temple of World Music” has become an essential stop for a continuous caravan of international artists who seek to raise their profile without compromising their heritage.

“World Music” – the very term is a catch-all that smacks of colonialism: “There’s us and then everyone else out there.”  The category ranges from melting-pot polyglot (whatever you put in the blender tends to sound the same) to the musical equivalent of the “gorgeous mosaic.”  Purists dread the slickness, the western production values, and the commercialism that creep into sounds that once were stark and plaintive.

Fortunately, Satalla owner Michael Jaacobi keeps it real by keeping it raw, when that’s the authentic texture.  If lyrics in the mother tongue escape us, rhythm and emotional intensity assure the messages find their mark.

Fuse artistry with political content and it illustrates why, especially in the Third World, songs of passion stir up crowds who have come to expect only repression and injustice from their governments.  When folk heroes become persona non grata at home, roots music remains the tie that binds. 

Satalla’s spotlight also shines on combos with extremely polished techniques who are dedicated to maintaining folk traditions that have been handed down before recording were an option.

Another plus is the club’s size, which is not so large that the music has top be over amplified.  In fact, some nights are reserved for music au natural.

On April 24, the “Acoustic Africa Spectacular” includes traditional music from Ghana, Mali, Guinea, and Senegal.  Evenings such as this offer the pleasure of discovering unheralded artists as well as the opportunity to hear and see some of the most amazing musical “implements.”

On a visit to Satalla earlier this year, the bill featured three groups representing regional Mexican sounds.  Perla Batalla is the name of the bilingual vocalist whose band backed her in a medley of ballads and contemporary jazz tunes.

From Chicago, which has a large and established Mexican community, came Sones de Mexico, a lively and versatile group that riffed on variations of Mexican son, including fandango and mariachi – as well as some that dated back to Aztec times and others incorporating the black African influence (visible in the form of ancient drums employed on stage).

Finally, Sonoranda, whose performance included flamenco-style dancing, reflected the original tempos and instrumentation of their heritage with a delicacy and finesse that was breathtaking.

Listeners often end up on their feet, particularly during the late-night global-beat dance parties on Thursdays and Saturdays (when admission is free).  The kitchen has an international flavor as well, with such choices as a Middle Eastern appetizer plate Mexican chili, and chocolate fondue, plus an array of pastas and grilled items, all reasonably priced.  The $10 minimum may be used for food or drink.

We recommend the city’s own boricuan band on April 17, Yerbabuena, and are eager to attend the Eastern European bloc party, featuring Balkan and Trans-Carpathian music, on April 22.  Mac-talla M’ or offers Celtic fusion on April 23. Depending on your own native culture and preferences, you may already be familiar with, let’s say, klezmer music, or the Argentine tango – Satalla hosts both established (Yale Strom and Hot Pstromi, May 16) and rising stars (Klez Dispensers).

The virtuosic, innovative Klezmer Mountain Boys (who season Klezmer with bluegrass, and it works) will appear on May 30.