Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

Saudade is a word with no direct English translation. In the Portuguese language it describes a sense of nostalgia for something that may never return. But in longing for that certain something, whether it’s a person, a place or a time gone by, saudade holds the thing you miss close, and keeps it present despite its absence. Portuguese author Manuel de Mello calls it “A pleasure you suffer, an ailment you enjoy.”

Herencia means 'heritage,' and this album of Latin jazz draws on a rising star pianist's roots in Cuba and France. 24-year-old Harold López-Nussa was born into a Cuban musical dynasty, the nephew of famous pianist Ernan López-Nussa and the son of drummer Ruy López-Nussa.

This CD is a success on all levels. For this Latin jazz date, the rhythm section's power and energy constantly inspire the horn soloists. Tenor saxophonist George Coleman is in top form, altoist Kenny Garrett gets in his licks and flutist Dave Valentin, whose playing was often a bit watered down on his own GRP releases, takes what may be his finest recorded solo on "Cuchi Cuchi." Not to be overlooked is Ruiz's McCoy Tyner-inspired piano, which fuels the rhythm section and really pushes the horns. Ruiz wisely chose nine superior songs to perform, including several rarely heard in this type of setting.

Venezuelan percussionist Luisito Quintero might not be a household name, but in the small world of New York's Latin music fraternity he's regarded as one of the hottest timbaleros in town. Luisito Combining Afro-Latin rhythms with jazz and bossa nova sounds Elements of Life quickly became one of the hottest albums to hit dance floors from sea to sea. As well as being an inspirational influence Luisito is also a member of the Elements of Life band which has been touring for the past three years. The band has shared stages with some of the top artist in the business, such as Robert Plant, Lauryn Hill and Alicia Keys.

It has been nearly 15 years since Cardona's last recording, Bembe, was issued. This is a most welcome addition to the Afro-Cuban music legacy as played by percussionist/vocalist Cardona and friends. Several pieces include larger vocal groups, a raft of fellow percussionists, or Cardona overdubbing himself. Others have tenor saxophonist Michael Brecker, trumpeter James Zollar, trombonist Papo Vasquez, pianist Bill O'Connell, bassists Joe Santiago or Andy Gonzalez, and drummer Robby Ameen.

Featuring prime Latin jazz cuts from the heyday of the mambo, Afro Cuban Jazz: 1947-1960 is really a better than average showcase for one of the music's best: Machito. In fact, this disc contains 13 sides by Machito & His Orchestra, including two bebop gems featuring Charlie Parker ("Mango Mangue," "No Noise, Pts. 1-2"). That's not to overlook the presence of one of the supreme champions of Latin jazz, Dizzy Gillespie ("Manteca"), Stan Kenton and his mathematically frenetic bongo jams, and J.J. Johnson and Kai Winding teaming up for a couple of classics. Truthfully, however, the real meat here is heard on such Machito dancefloor fillers as "Oyeme" and "Minor Rama." So, when you've got a jones for jazz in a mambo mood, this disc will provide the needed salve.

For her latest project, the young Catalan trombonist and singer Rita Payés joins forces with her mother Elisabeth Roma who is also an exceptional classical guitarist. Mother and daughter will be launching their debut album during the London Catalan Festival, giving their personal take on the music that has accompanied them all their lives, from traditional Catalan lullabies to bossa nova, fado, boleros… For this particular performance, the duo will be joined on stage by bassist Magali Datzira (Sant Andreu Jazz Band) and percussionist Juan Berbín. This family project started when Rita booked a two-day studio session for Elisabeth as a birthday present in June 2018. Rehearsing and preparing for that session, they re-evaluated and strengthened their repertoire and arrangements. It was then when they decided to take the project further and release it as their debut album.

Julio Iglesias is a Spanish singer and songwriter who has sold over 100 million records worldwide in 14 languages, has released over 80 albums, and has more than 400 gold and platinum records certified, making him one of the best selling artists of all time and the best selling Latin artist in history.

“Bicho Solto – O XIII” is funky, festive, danceable, without losing its Djavanish features. Together with the previous album, “Malásia”, “Bicho Solto” marks, in a certain way, Djavan´s 20th anniversary as a recording artist. And if the first one has a clear-cut and individual style, the last one also reveals the rejuvenation of the artist, a constant update of his music without losing his identity.

In 2006, the Berman Brothers (Frank & Christian) created and produced the Album “Rhythms del Mundo”, a non-profit collaborative effort which fused an all-star cast of Cuban musicians including Ibrahim Ferrer and Omara Portuondo of the Buena Vista Social Club. The new album released on the occasion of the 2016 Olympics in Brazil. Just as “Rhythms del Mundo” Cuba, it contains rearranged pop hits, but this time in a Brazilian Samba and Bossa Nova sound garment. In order to achieve the authenticity that also distinguished “Rhythms del Mundo: Cuba, the Berman Brothers recorded with Brazilian musicians, as well as internationally popular pop-voices.

While Ray Barretto's congas have graced more recording sessions than virtually any other conguero of his time, he has also led some refreshingly progressive Latin jazz bands over the decades. His records often have a more tense, more adventurously eclectic edge than those of most conventional salsa groups, unafraid to use electronics and novel instrumental or structural combinations, driven hard by his rocksteady, endlessly flexible percussion work.