In a way, giving a numerical grade to many of Gilles Peterson’s projects is a bit unfair. Sure he is a terrific composer and producer in his own right, however when it comes to projects such as his latest double-disk compilation, Gilles Peterson Presents: Worldwide, he simply scoured his extensive (understatement) library for many of the most top-quality jams from around the world in celebration of his nearly ten-year-old radio show. That said, there is absolutely no denying the awe of hearing the tracks come together in such a manner that only Gilles Peterson can do.

Worldwide is a shining example of Gilles’ understanding of flow and transitions. Each song is by a different artist, yet the entire project still comes together feeling like a full album with each track in its right place – a feat that many solo artists still have a hard time pulling off. And topping the 90-minute mark makes this undertaking that much more impressive.

But cohesiveness aside, what really counts is the music. Rest assured, when I said top-quality, I actually meant tip-top-quality. Worldwide gathers a collection of jazz, trip-hop, funk, afrobeat, hip-hop, electronica, nu-jazz, and neo-soul into one motherf**ker of a compilation. There are songs that many listeners will likely already know, such as Quasimoto’s “Come On Feet”, Steve Spacek’s “Dollar”, José James’ “The Dreamer”, and Little Dragon’s “Twice” to name a few.

However, the brilliant thing about Gilles’ mixes is that he spices up the blend with surprises, unknowns and oft-forgotten remixes. “Too Fly”, Dwele’s take on the classic Stevie Wonder track “Too High”, is a not-so-subtle nod to Motown’s past, updated with a fresh Detroit thump. Not to be outdone, the ever-popular Jay Dee sneaks his way in with the classic “Rico Suave Bossa Nova”. Funky additions from Recloose (“Dust”) and Seun Kuti & Fela’s Egypt 80 (“Many Things”) liven up the mix in the final third to ensure that the album keeps a-rollin’ at a steady pace.

Even as strong as the middle of the album is (and soul-centric: Dilla, Dwele, Vikter Duplaix, Sa-Ra, Steve Spacek), the opening and closing are especially notable. Nitin Sawhney’s “Tides” blurs the lines between jazz and downtempo, creating an utterly dreamlike soundscape that melts right into the layered “All Things to All Men” by The Cinematic Orchestra featuring Roots Manuva. And towards the end of the album, who would have guessed that the juxtaposition of the aforementioned Little Dragon and José James tracks would work so well?

The answer: Gilles Peterson. And that is why although grading a compilation mix might seem slightly trivial, it is important nonetheless. Because the precision and care with which this album is assembled goes far beyond your average love-struck Michael Cera making a mixtape for the out-of-reach girl of his dreams.

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