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But a problem with missing passports on the West African side meant the recording expedition was never made. Instead, Nick Gold, World Circuit’s legendary producer, pivoted to an all Cuban record instead. And the rest, as they say, is history.

So, the recording and release of Afrocubism neatly brings the story full circle. Many of the key figures from BVSC have shuffled off their mortal coils in the last 10 years, a fact which is poignantly manifest here with names such as Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo missing from the bill. So it is down to the cowboy hat-wearing guitarist, Eliades Ochua, to wave the flag for the Cubans, while World Circuit warhorse Toumani Diabaté (kora) leads the Malian contingent that also includes ngoni maestro Bassekou Kouyate.

Cuban and Malian music is an obvious fit marketing-wise: both are hugely popular internationally. Historically and musically too, there’s a lot of kinship between the two traditions. The explosion of the West African music scene of the sixties and seventies was hugely influenced by Cuban music, while looking further back, Cuban music itself is built on the foundations of African immigration. Furthermore, traditional music from both countries is firmly built on melodic grooves and the leading players from each side are accomplished improvisers. Afrocubism is a great title and displays some of the best cover art this reviewer has seen in a long time. But is the music any good?

The answer is a qualified yes. As to be expected, the ensemble playing here is second to none and Gold’s production follows the usual ‘guiding hand’ approach. The cultural fusion is approached in a fairly straightforward manner: with a couple of exceptions, the Malians accompany Cuban tunes and vice versa. Where a conscious fusion is attempted, the sound is fascinating but the music can wander. On Diabaté’s instrumental, ‘Mali Cuba’, for example, the sunny tune can’t disguise the musical meandering.

Afrocubism is at its most radiant when strong compositions from either tradition are presented as well-loved dishes with some new spices added. Djelimady Tounkara’s guitar licks add to Ochua’s crooning to give the slinky ‘La Culebra’ [‘The Snake’] extra sparkle, while Cuban percussion adds to the classic praise song (step forward Kasse Mady Diabaté), ‘Jarabi’ [‘Passion’]. Elsewhere, Cuban tune ‘A La Luna Yo Me Voy’ [‘I’m Going to the Moon’] benefits from a gorgeous balafon groove and the final number is pure Toumani: a reflective kora ballad with picked guitar/ngoni interjections from colleagues.

In the end, there is more that unites these musicians that divides them, a tribute to the contribution Diabaté, Kouyate, Ochua and all the others have made not only to their respective traditions but to pan-Atlantic music in general. It’s probably best that this collaboration was usurped by the Buena Vista Social Club, but Afrocubism is an important album nonetheless.