This five-LP box set (which has been reissued on CD) contains nearly all of Stan Getz's classic bossa nova sessions, five wonderful yet diverse LPs (Jazz Samba, Big Band Bossa Nova, Jazz Samba Encore, Stan Getz/Laurindo Almedia, and Getz/Gilberto). The cool-toned tenor is heard on his groundbreaking collaboration with guitarist Charlie Byrd (which resulted in the best-selling "Desafinado"), is showcased with a big band arranged by Gary McFarland (introducing "No More Blues" and "One Note Samba"), stars in recordings with guitarists Laurindo Almeida and Luiz Bonfa, and is heard at the famous meeting with composer/pianist Antonio Carlos Jobim, guitarist João Gilberto, and singer Astrud Gilberto, which resulted in the major hit "The Girl From Ipanema." This essential set finishes off with three previously unissued performances from a 1964 Carnegie Hall Concert, concluding with a remake of "The Girl From Ipanema." These recordings stand as proof that it is possible for good music to sell.

Ray Barretto's Taboo features a new, smaller version of his New World Spirit ensemble. Hector Martignon, who composes along with Barretto, is still here, as are Satoshi Takeishi, Ray Vega, and Jairo Moreno. Saxophonist Adam Kolker takes the sax chair vacated by Jay Rodriguez, and guitarist Alfredo Gonzales has not been replaced. The material is far jazzier on Taboo. Barretto explored the roots of Latin jazz as it transformed itself into the New York version of son and salsa on 2003's Hot Hands: Ancestral Messages, and Taboo serves as a guidebook to present and future tenses of Latin jazz. For starters, one can read between the lines that Ray Vega's charts have moved far a-field of the standard notions surrounding big band arrangements. Everything here feels fluid and relaxed; the playing leaves spontaneity in the air whether it is on a Barretto or a Martignon original, such as on "Bomba-Riquen," "99 MacDougal St," or something from the hard bop cannon by Nat Adderley and Oscar Brown, Jr., such as the classic "Work Song," or a modal tune like McCoy Tyner's "Effendi".

In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s – a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema," "Desafinado," "One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat. And there is much unfamiliar material here, often dressed up in a brooding classical manner.

Millennium: 20 Músicas Do Século XX is a 1999 compilation disc by Brazil's Milton Nascimento. This comes from the fine folks as Polygram/Mercury Brazil as part of their "Millennium" series.

Estudando O Samba/Correio Da Estação Do Brás is a 2-on-1 collection of two albums by Brazil's Tom Zé focusing on 1975's Estudando O Samba and 1978's Correio Da Estação Do Brás. This was remastered in 2000 as part of Continental/EastWest's "Série Dois Momentos" series, focusing on different Brazilian music. The disc was packaged with a Japanese obi strip to make it seem like a Japanese disc.

Tam…Tam…Tam…! is a 1958 album by José Prates, which has since become one of the most valuable albums to come from Brazil. This is from a 2014 remaster, reissued by the Trunk label.

Digitally remastered two CD set containing a trio of albums by the blues great. Includes Taj Mahal's three Warner Bros albums from 1976, 1977 and 1978. From his early days as a member of the Rising Sons with Ry Cooder, Mahal has had a long, commercially successful (and critically acclaimed) career. Music Fuh Ya' made the US Top 200, and he followed it by the soundtrack for the civil rights film Brothers' Evolution was his last for Warner Bros and a major label. Fifty years on, Mahal is still actively gigging and loving the music he plays. This set is slip cased, and comes with extensive liner notes.

A master conguero, Santamaria at his best creates an incantatory spell rooted in Cuban religious rituals, quietly seating himself before his congas and soloing with total command over the rhythmic spaces between the beats while his band pumps out an endless vamp.

The success of the Buena Vista Social Club series gave Cuban singer Ibrahim Ferrer the chance to finally begin his dream project in 2005, the recording of an entire album of bolero pieces, the musical form Ferrer loved above all others. Unfortunately the 78-year-old singer died in August of that year while sessions for the project were still underway, and that Mi Sueсo (My Dream) exists at all is in itself a small miracle. Ferrer left behind high-quality vocal demos of the boleros he still intended to record for the album, but these tapes were apparently misplaced and Ferrer's dream seemed destined to go unfulfilled. The demos were eventually recovered, and Mi Sueсo has finally seen the light of day. It is the perfect goodbye from Ferrer, a fitting and beautiful last testament that spotlights his easy and smoky vocals over subtle, non-intrusive arrangements generally featuring pianist Roberto Fonseca, guitarist Manuel Galbon, and bassist Cachito Lopez.

With his remarkable range and phenomenal technique, Arturo Sandoval is one of the world's great trumpeters; he can do virtually anything he wants on his instrument. Some detractors have claimed that he has too much technique (is such a thing possible?) and that his recordings for GRP are a bit erratic. The latter criticism cannot be applied to this 1988 release. Sandoval is heard with a standard quartet comprised of the great pianist Chucho Valdes (the leader of Irakere), bassist Ron Matthewson, and drummer Martin Drew. Recorded in England before Sandoval broke ties with Cuba, Sandoval is in near-miraculous form on some blues, a lyrical "My Funny Valentine," and a few basic originals. Just listen to him tear through "Blue Monk," playing in the low register with the speed of an Al Hirt before jumping into the stratosphere like Maynard Ferguson.

Chucho Valdes, Cuba's most famous jazz musician, has rebalanced the repertoire of his Afro-Cuban Messengers on Border-Free, mixing its American-jazz agenda (the group's name deliberately references both Valdes' roots and the late Art Blakey's classic soul-bop Jazz Messengers group) with more extended Latin-American input, and some Native American and Andalusian connections, too. Saxophonist Branford Marsalis, guesting on three tracks, is warmly romantic on tenor on the loping Tabu, agile and fluent on the Cuban dance-shuffle Bebo, and mercurial on a soprano-sax break full of north African microtonalisms on the hurtling, horn-hooting finale, Abdel.

The "celebration" in question refers to Paquito becoming a U.S. citizen seven years after defecting from Cuba – and without question, he lives it up here by lavishing string arrangements on the majority of the tracks. Again, Paquito chooses to roam freely around the Latin and jazz spectrums, yet there is an appealing, newfound elegance in these tracks, even when the going gets raucous. "Wapango" has a stark, neo-classical string chart by Paquito, and Roger Kellaway contributes the fascinating, dream-like arrangement on "Heart of the Kingdom." Both of these tracks, which feature superb Paquito clarinet work, are along the lines of what Eddie Daniels was recording around this time. Claudio Roditi is back on bebop trumpet and Makoto Ozone, Daniel Freiberg and the always unpredictable Kellaway alternate in the piano chair.

This overlooked gem has thirty two tracks of great music. The list includes: Herbie Hancock, Lou Donaldson, Stan Kenton, Horace Silver, Joe Henderson, Candido, Stanley Turrentine, Kenny Burrell and Willie Bobo among others. In fact you get two compact discs of latin fused jazz.

The original Spanish crooner to the stars returns with his first studio work since 1996's TANGO with NOCHE DE CUATRO LUNAS. This first-class production moves deftly back and forth between the Iberian Peninsula and the Americas, navigating a swirl of arid flamenco melodies, Caribbean rhythms and cosmopolitan electronic pop finesse. The enlisting of such winning producers and songwriters as Rene L. Toledo and Robbi Draco Rosa seals the album's course for international appeal. As always with Senor Iglesias, romance is the name of the game.

Víctor Lidio Jara Martínez was a Chilean teacher, theater director, poet, singer-songwriter, and political activist. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende. Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs, which focused on love, peace, and social justice, and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the regime of Augusto Pinochet.