A native of Southern Louisiana, accordionist and singer Andrew Carriere brings a long family tradition into his playing. His father was the legendary Creole fiddler “Bebe” Carriere, his uncle was accordionist Eraste Carriere, and cousins Chubby, Calvin, and Roy Carrier are popular in the zydeco arena. Carriere moved to the Bay Area in the ’60s, learned accordion from the late Danny Poullard, and is featured vocalist on the California Cajun Orchestra’s “Not Lonesome Anymore” CD. He performs regularly with the Creole Belles and CZ & the Bon Vivants, and more occasionally in the Cajun Classics.

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It’s a most unusual show, even by Ashkenaz’s wide-ranging world dance music standards: on his first U.S. tour, the Italian singer, composer, and multi-instrumentalist Gerardo Balestrieri presents his Turkish Neapolitan Project, accompanied by members of the eclectic powerhouse Fishtank Ensemble. After opening sets by the virtuoso Fishtank crew, as well as special guests Æ from Brooklyn and Turkish wind ensemble MWE, Balestrieri offers his original music in a variety of languages and musical styles, full of humor and exquisite beauty. In addition to singing of love, homeland and humor in several languages, Balestrieri plays accordion, clarinet, and various keyboards. He is accompanied by Fishtank Ensemble’s gypsy violinist Fabrice Martinez and flamenco guitarist Doug “El Douje” Smolens. They are joined by French bassist Roland Martinez (Fabrice’s brother).

From Naples and now living in Venice, Italy, Gerardo Balestrieri highlights special music from his latest recording, “Un Turco Napolitano,” Neapolitan songs accompanied on CD by a Turkish ensemble. The CD won second place in the competition for best 2009 album in Italy. Balestrieri sings with a deep voice in such languages as Italian, Greek, French, Neapolitan, and English. His lyrics often use poetry: irony, bizarre sarcasm, Ethno-Jazz, French swing, Tzigane ethnicity, and Middle Orient sensual power. He loves to joke with words without forgetting the importance of rhythm and dance.

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Forró Brazuca plays the sensuous upbeat sounds of northeastern Brazil like no other band on the West Coast. Inspired by the music of Luiz Gonzaga, Jackson do Pandeiro, Trio Virgulino, and Dominguinhos, Forró Brazuca performs Latin, folk, and roots music at its festive, rollicking best! Formed by four San Francisco-based Brazilians – each from a different region of Brazil – in early 2007, this band has been bringing its accordion-powered dance music (very similar to zydeco and Cajun music) to venues all across the Bay Area, with accordionist Mestre Francelino, triangle player Carlos Baiano, bassist Carlos Oliveira, and drummer Chris Carioca. www.myspace.com/forrobrazuca

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Musical Night in Africa is a decade-old, much-anticipated Ashkenaz tradition, featuring past favorites and new elements. Produced each year by Nigeria’s Babá Ken Okulolo, it is a musical tour of West Africa, from teeming cities to remote villages that hold on to ancestral traditions. Music ranges from folk songs to the hottest African dance rhythms. The theme of the 10th Night in Africa is “We Are All Africans,” which is also the title of Okulolo’s new CD. The night is a thank-you, as Okulolo puts it, “to our community and to our common ancestors for their unseen everyday blessings and guidance.”

The festivities begin at 9 p.m. sharp with Okulolo leading a traditional African welcoming libation ceremony. The sweet traditional folk of the Nigerian Brothers then kicks off the live music. At 10 p.m. Okulolo’s latest project, Afrobeat ConneXion, takes the stage, followed by the hypnotic dance rhythms of the West African Highlife Band. Kotoja concludes the celebration with nonstop electric dance music.

The Bay Area’s leader in the World Beat and Afrobeat scene, Kotoja is directed by Okulolo, one of the pioneers in West Africa’s modern music. He came to America as the bass player in Nigerian band King Sunny Ade’s African Beats, settled in the East Bay, and soon thereafter launched Kotoja. It features bandmembers from West Africa and America playing a bubbling brew of African highlife, juju, jazz, and world dance rhythms with driving guitars, riffing horns, and persuasive percussion. Kotoja was the inspiration for New York clothier Dan Storper to create Putumayo Records, the popular world music label. www.kotoja.com

More recently, Okulolo created the improvisational Afrobeat ConneXion from studio jams with musicians who demonstrate a restless, driving attitude in exploring African music. Afrobeat ConneXion also features Nigeria’s Soji Odukogbe, who was for five years the lead guitarist for Fela Anikulapo Kuti, the late pioneer of Afrobeat. The band plays hard-hitting Afrofunk grooves with a jazz sensibility. www.facebook.com/agx

West African Highlife Band includes master musicians from several West African countries and the United States. It draws on folk traditions combined with modern stylistic elements, played with acoustic and electric instruments, and revives the infectious classic highlife dance hits of Ghana and Nigeria. The band features musicians who have played with such African masters as Hugh Masekela, King Sunny Ade, and Fela Kuti.

Two veteran Bay Area bands make their Ashkenaz debut: The Autonomous Region and First Born, who share a love of harder-edged indie rock with a bit of reggae and ska thrown in. The Autonomous Region starts off the evening with acoustic indigenous Philippine instruments, then gradually segues to reggae, urban rock, and hard rock, setting the stage for First Born’s high-impact funk rock.

The Autonomous Region is a dynamic urban rock band presenting original music reflective of the unique Bay Area experience that is assimilated through their music and lyrics, with singer Caroline Cabading, guitarist Chet Canlas, drummer Tyrone Davis, bassist Phil Ergina, and Ron Quesada on oktavina and guitar. Theirs is a high-test blend of alternative rock peppered with jazz and fused with many other genres to create their own unique sound, one remains difficult to define and impossible to put in a box. With its latest CD, “Forbidden City,” the eclectic quintet combines the best of both worlds of politics and music. www.theautonomousregion.com

A decade-old Ashkenaz tradition, the monthly Grateful Dead Night has been relaunched with a rotating cast of DJs, live bands, and other show-and-tell surprises from the Deadhead community. The format offers live music followed by hours of spinning to that night’s DJ. December’s edition features the Dead Guise, plus Dead selections from Gankmore. A longtime Grateful Dead fanatic, Gankmore plays an ever-changing collection of the best in Dead live recordings. He runs the website www.gankmore.com, where each day he posts several Dead shows from that day in history.

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Odile Lavault and her Baguette Quartette are known for playing the Parisian musette that was so popular between the two World Wars, the mix of accordion waltzes, Django Reinhardt-inspired string swing, and various romantic and exotic dances. They are the only ensemble in North America devoted exclusively to Parisian café music from 1920 to 1940.

The evening ranges through a repertoire of all the popular dances of the time: valse musette, java, tango, fox trot, paso doble, and marches. Along with Paris-born Lavault, who plays French accordion as well as Argentinean bandoneon, and sings the occasional humorous French song, the Baguettes are violinist Rachel Durling, guitarist John Schott, and bassist Rich Trevor. Over the past decade and a half they have built an enthusiastic following, seduced by the authentic flavor and charm of the arrangements featured in live performances and on the band’s four CDs.

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Two queens of reggae share the Ashkenaz stage in a night of conscious, uplifting roots music. Jamaican-born singer and dancer Sister I-Live has been a major voice in the Bay Area reggae world for twenty years. She was the vocalist for the groups The Chosen Few, The Elevation, and the Out Of Many One Band. A committed Rastafarian, she took her reputation as a dancehall diva and Nyabinghi chanter forward to lead her own band. She has released two CDs (a third CD, “Herb Woman,” is in the works) featuring original songs and classic reggae cover tunes. Her sets are peppered with island dance music and Nyabinghi chanting, as well as calypso and soca rhythms. www.myspace.com/sisterilive

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Almost overnight the Sippy Cups – who celebrate family and life with rock and roll music – have taken the country by storm, albeit a gentle one. The group’s May Ashkenaz appearance was so popular that many were turned away; so the Sippy Cups are doing two shows today, at 1 and 3:30 p.m.

Arriving near the end of their cross-country “Time Machine” 2009 tour with music from their recent album of the same name, the Sippy Cups continue to make the world better through music and fun, mixing key values such as “peace, love, and use your words” with lots of good ol’ rocking out. The band’s concept for the Parents’ Choice Award-winning “The Time Machine” isn’t some sci-fi transporter, but every kid’s body, which wondrously changes, grows and develops as he or she ages through time. Songs include “7 Is the New 14” and “Super Guy Saves the Dad.”

The Sippy Cups debuted in 2004 at a community fundraiser with three dads doing kid-friendly takes on Nirvana and Syd Barrett tunes. Since then the band has grown musically, always inspired by their children, and has performed at major concert halls and rock festivals including the Austin City Limits Festival and Lollapalooza. Extolling cooperation and kindness, respect for the environment, and the joys of families making music together, the Sippy Cups have received accolades from Time, Newsweek, the Los Angeles Times, and the Washington Post and appeared on “Nightline.”

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Almost overnight the Sippy Cups – who celebrate family and life with rock and roll music – have taken the country by storm, albeit a gentle one. The group’s May Ashkenaz appearance was so popular that many were turned away; so the Sippy Cups are doing two shows today, at 1 and 3:30 p.m.

Arriving near the end of their cross-country “Time Machine” 2009 tour with music from their recent album of the same name, the Sippy Cups continue to make the world better through music and fun, mixing key values such as “peace, love, and use your words” with lots of good ol’ rocking out. The band’s concept for the Parents’ Choice Award-winning “The Time Machine” isn’t some sci-fi transporter, but every kid’s body, which wondrously changes, grows and develops as he or she ages through time. Songs include “7 Is the New 14” and “Super Guy Saves the Dad.”

The Sippy Cups debuted in 2004 at a community fundraiser with three dads doing kid-friendly takes on Nirvana and Syd Barrett tunes. Since then the band has grown musically, always inspired by their children, and has performed at major concert halls and rock festivals including the Austin City Limits Festival and Lollapalooza. Extolling cooperation and kindness, respect for the environment, and the joys of families making music together, the Sippy Cups have received accolades from Time, Newsweek, the Los Angeles Times, and the Washington Post and appeared on “Nightline.”

Begun in 2002, this recurring bellydance open stage event has raised thousands of dollars for the Women’s Daytime Drop-in Center of Berkeley (www.womensdropin.org), which offers aid to the area’s homeless women and children. A typical Café Bellie features dozens of bellydancers, from beginners to veterans, who travel from as far away as Santa Cruz and Sacramento to contribute their time and talent for the cause. Some of Northern California’s top dancers have graced the stage, including Rachel Brice of the Bellydance Superstars and Shabnam Pena, Bellydancer of the Year for 2005.

The New Iberians are a family-friendly festival and club favorite from the Pacific Northwest. Having performed in the Bay Area only once before (at the Point Richmond Arts Festival), they excitedly make their local dance hall debut with a sizzling mix of original tunes and traditional zydeco, blues, country, and rock ’n’ roll.

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An array of performers gathers in this creatively multi-disciplinary night of song, dance, drumming, and live painting to celebrate the release of Mama Crow’s CD, “Indigo.” In addition to the Mama Crow Band, artists in this “eclectic evening of tribal soulful strings with wings” include African kora master Youssoupha Sidibe, San Francisco guitar wizard The Genie, and New York City’s J La Broo Dance Company.

Carmen Gutierrez is Mama Crow, a New York-born, Bay Area-based musician, healer, activist, and singer-songwriter. Mixing gospel and funk into her soulful vocal approach, she sings, as she explains, her “life’s stories that derive from adversities, empowerment with twists of analytical perspectives of the world we live in.” All of those elements are captured on “Indigo,” her first full-length CD, highlighting her fusion of funky guitar picking and lyrical storytelling. To celebrate its release, Gutierrez brings her band, with bassist Ryan Lukas, drummer Brian Huston, and guest musicians. www.myspace.com/mamacrowmusic

Master of the kora (African harp), Senegal’s Youssoupha Sidibe has taken his West African music into a number of realms, collaborating with an array of non-African artists and receiving praise and acclaim for his talents. Sidibe began his music career more than 20 years ago, studying kora at the National Music Conservatory in Senegal. He combined the lilting, angelic sounds of the kora with the Sufi chanting of the Senegalese Baay Faal community. Sidibe’s “Sacred Sound” approach to music is presented not only as a link to the ancient griot tradition of his homeland, but also as relevant for today’s world. He brings Senegal, Africa with him wherever he goes. www.myspace.com/youssouphasidibe

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In his Ashkenaz debut, reggae singer and singjay Lutan Fyah brings the full power of his conscious lyrics and hypnotic rhythms from his recordings, including the 2009 double-disc, 30-song “Africa,” issued by San Francisco label 2B1 Records. Lutan Fyah says of his role, “Rastafari livity means to tolerate and to live side by side with those of other faiths no matter which race, no matter which class. The purpose of Haile Selassie is to see that we become one in unity and love … and that is my purpose.”

Born Anthony Martin in Jamaica in 1975, Lutan Fyah apprenticed in the dancehall scene, DJing and singing, inspired by Jamaican vocal greats Dennis Brown and Garnet Silk. He began recording for Buju Banton’s Gargamel Records in 1999. The debut “Dem No Know Demself” was followed by “Time & Place,” “Healthy Lifestyle,” “You Bring Blessings,” and the compilation CD “Phantom War.” www.myspace.com/lutanfyahmusicpage

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Mamadou & Vanessa perform their lilting, uplifting music they describe as Mali blues, a blend of Wassoulou from Mali (music originally based on the rhythms of hunting ritual) with American blues, which is rooted in West African music. For tonight’s concert they bring their full band, with bassist Sam Bevan, Amadou Camarra on calabas and djembe, and other special guests. Grand prize winners in the World Music category of the John Lennon Songwriting Contest, the Bay Area duo has also picked up other prestigious awards for its most recent CD, “Wassoulou,” including winner of the 2008 Independent Music Awards.

Violinist-fiddler-composer and singer Tom “Rigo” Rigney’s East Bay quintet Flambeau plays traditional Cajun and zydeco two-steps and waltzes, along with low-down blues and New Orleans R&B. What sets the band apart is Rigney’s fresh musical takes on Cajun and zydeco, and other styles he loves to play from rock to classical, creating a celebration of life through dance rhythms. The tight ensemble of virtuoso musicians – which also includes guitarist Danny Caron (Rigney’s longtime collaborator since their Sundogs years), keyboardist Caroline Dahl, bassist Steve Parks, and drummer Brent Rampone – plays mostly original material, highlighting Rigney’s arrangements.

Ashkenaz’ monthly series “Stomping the Blues” gives everyone the blues, the kind that make you want to shout and dance! It is both a showcase for the best of the Bay Area blues scene and a return of regular West Coast Swing dancing to Ashkenaz.

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The tight and fiery band 7th Street Sound serves as host and house band in the traditional Ashkenaz Boxing Day celebration, always a reggae event. 7th Street is a Berkeley-homegrown, Ashkenaz-raised band. Friends since high school, Eddie Arnold (drums), Danny McCaffrey (bass), and Benjamin Goff (keys) have been playing together since 1992. They recently added guitarist Jason Collins of the Funkanauts. 7th Street Sound has been called one of the Bay Area’s best-kept musical secrets and has backed many artists, including lovers’ rock legend Lloyd Brown on his first California tour. Other artists 7th Street Sound has worked with include Messenjah Selah, Brother Ayouba, Earl Zero, Winstrong, and Roots Natty. www.myspace.com/7thstreetsound

Singjay Luv Fyah features selections from his recent collaboration with Million 7, “Ethiopia We Belong.” A Reggae-Vibes.com reviewer wrote that, “his presence and delivery lives up to his name, bringing plenty of Fire and Love on this release, where he combines sweet, soulful singing with chanting on songs like ‘New Star Born,’ ‘Ethiopia I Belong,’ ‘So Many Lights,’ ‘Coming from the West’ or ‘Time Traveler.’” www.myspace.com/luvfyah

From St. Croix in the Virgin Islands, singer Binghi Ghost takes his name from the Rastafarian word for “Nyabinghi,” meaning the real, original chanting Rastafarians use to give thanks and praises through singing. Add in the choices humanity is currently facing, translate them into reggae, and that is Binghi Ghost’s music, an uplifting sound conveying that “we can accomplish what we set our minds to do.” www.myspace.com/binghighost

Blaak Lung, a.k.a. Alan “EayGee” Gordon, grew up in the Bay Area influenced by Augustus Pablo, King Tubby, and other reggae greats as well as conscious hip-hop artists such as KRS-One. He began creating reggae, hip-hop, and dub tracks at age 13 and progressed to a 20-year career of producing conscious roots vibrations for a long list of artists. In the last few years Blaak Lung has stepped to the fore with his hard-hitting solo CDs. He describes his distinctive singing style as “EngJay,” a combination of spoken word, dub poetry, and DJing. www.blaaklung.com

Yaelisa, artistic director of Caminos Flamencos, presents her youth and adult flamenco dance students in an informal fiesta gathering. Bring the kids, friends, and family and celebrate the holidays with goodies and fun!

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New Year’s Eve at Ashkenaz is traditionally an all-night affair of Balkan music and dance hosted by Édessa, in honor of the late Ashkenaz founder David Nadel and the music he first featured at his world dance club. This year’s event includes the Balkan folk music of Édessa, Brass Menažeri’s wild brass band approach, Joe Finn & Leslie Bonnett’s Scandinavian and Cajun music, and dance lessons with New York’s Steve Kotansky. An acclaimed Balkan dancer, Kotansky is also one of the top teachers in the country and has taught at Balkan camps across North America and Europe.

For years one of the Bay Area’s premier Balkan dance bands, Édessa’s musicians have devoted decades to the study and performance of the rich cultural expressions of the southern Balkans. Using both traditional and modern instruments, they perform in a variety of styles, featuring long sets that interweave melodies, improvisation, and beats with dancers in mind. The music comes from Albania, Greece, Bulgaria, Macedonia, Armenia, Turkey, and the Balkan Roma (Gypsy) people. The group and its members have long participated in and taught at Balkan camps across the country, and Édessa was the first band to take Balkan music to Japan. Édessa is George Chittenden on clarinet, saxophone, gaida (bagpipe), zurna (shawm) and guitar; violinist Ari Langer; Lise Liepman on santouri (hammered dulcimer) and accordion; bassist Paul Brown; and percussionist Rumen Sali Shopov. To celebrate the new year they are joined by special guests Jesse Kotansky on violin and singer Luka Primack. Primack first performed with Édessa when he was 11, and sang on the band’s first CD with his sister, Eva. www.edessamusic.com

Brass Menažeri is the Bay Area’s Balkan Romani (“Gypsy”) powerhouse brass band. Led by trumpeter-clarinetist Peter Jaques, the nine-member ensemble cascades through the music of the Serbian, Macedonian, Greek, and Rajasthani Roma (gypsy) with infectiously wild dance rhythms, soulful vocals, and hot improvisations. Formed in 2000, Brass Menažeri is a shining example of traditional Balkan repertoire combined with new sensibilities, innovative arrangements, and original compositions. Jaques plays alongside trumpeters Darren Johnston and Eric Oberthaler, trombonist Larry Leight, baritone horn player Alex Zendzian, Evan Stuart on Sousaphone, tapan player and singer Michele Simon, singer and baritone horn player Rachel MacFarlane, and singer and snare drummer Briget Boyle. www.brassmenazeri.com