Tom Jobim was the originator of the new Bossa Nova beat in Brazil in the late '50s and it was Joao Gilberto that first mastered the guitar technique to introduce it to the world in 1958. They both said that Milton Nascimento was the only singer that could reach the original pitch of the compositions and so it is entirely fitting that he has teamed up here with Tom's son Paulo and grandson Daniel for a recording session to celebrate both Tom Jobim and the anniversary of his invention of the Bossa Nova. Mixing songs by Tom Jobim, Milton Nascimento and Daniel Jobim, this is a true master class in the art of the Bossa and a new milestone in Brazilian music.

Jobim is recognised the world over as one of the most influential composers of the 20th century. He has been musically productive right up to his death in December 8th 1994.His last album, "Antonio Brasileiro", was released posthumously soon after.

Passarim is Jobim's major statement of the '80s, emerging during a time when his concerns were turning increasingly toward the Planet Earth. The title song is one of Jobim's most haunting creations, a cry of pain about the the destruction of the Brazilian rain forest that resonates in the memory for hours. Also, by this time, Jobim had resumed touring with a large group containing friends and family, and they carry a great deal of the load here, with lots of airy female backup vocals, two worthy songs by Jobim's multi-talented son Paulo, and another by flutist/singer Danilo Caymmi.

Veteran Cuban jazz pianist Chucho Valdes pays tribute to many of his mentors and peers on Chucho's Steps. The first hint of his intention comes with the instrumentation of a sextet also featuring Juan Carlos de Castro Rojo Blanco on drums, Lazaro Rivero Alarcуn on bass, Yaroldy Abreu on percussion, Carlos Miyares Hernandez on tenor saxophone, and Reynaldo Melian Alvarez on trumpet.

These are tracks taken from several records by different Cuban bands in which Chucho Valdés took part. The pieces range from bolero and salsa to cumbia and jazz. There is even a touch of unofficial mini Irakere with "Blues 1080." The recordings were done by UK label Tumi.

Cuban music legend, Jesus "Chucho" Valdes is fiery hot and still impacting the jazz world with his diverse musical elements. Riding the new wave in Latin jazz fostered by the pianist's critically acclaimed 3/4le Bele en la Habana on Blue Note in 1998, Valdes reserved enough energy to excite his fans with an exquisite blend of technique and soul on Live. The CD, an infectious, collection of cubop grooves and rhythms, further develops the Afro-Cuban and Latin jazz collective Chucho has been pulsating for the past 25 years as musical director of Irakere, the award-winning band he co-founded to play both music styles. "Tumbao," and "Blues a Puerto Rico," feature a variety of moods, melodies, syncopation and the signature solos of Chucho's formidable piano.

Chucho Valdes is easily the living king of Cuban jazz piano. This anthology, issued by the premier Bele Bele Jazz Club label from Spain, is an overview of the roots of the pianist's development as both an interpreter of classic Cuban material and as an improviser. The first 12 tracks on the set, recorded in 1970, borrow heavily from the "feelings" movement of Cuban dancehall music from the late '40s and early '50s, with numerous compositions by Jose Mendez and Cesar Portillo de la Luz. There are also trademark Valdes originals such as his own "Preludio No. 1," based on Debussy's. Other tracks here, from 1982, borrow from the later dancehall traditions and lineages such as the "Evocations" series written by Jesus Valdez including one for Josh White! The first 12 cuts features Valdes with a stellar rhythm section that included bassist Orlando Lopez (Cachaito) and drummer Enrique Pla, and the last eight are solo.

Babalu Aye closes a circle of sorts for Irakere. Most of the songs on this album are salsa Cubana, some sounding very much like the original New York salsa of years past. But of course, it's salsa with the Irakere flair: electric guitars with the distortion cranked up come in and out; the horn section plays tightly, then loosens considerably in the solos, putting little relaxed ornaments around each phrase, then suddenly tightens up again; the whole band chants phrases in unison.

Eden is the debut studio album by British musical duo Everything but the Girl. It was released on 4 June 1984 by Blanco y Negro Records. The album contains the single "Each and Every One", which peaked at number 28 on the UK Singles Chart. The cover design was by lead singer Tracey Thorn's former colleague in the Marine Girls, Jane Fox. By 2012, Eden had sold around 500,000 copies. Eden was reissued in 2012 as a remastered edition by Edsel Records.

Chucho Valdés's first recorded sessions as a leader took place in late January 1964 in the Areíto Studios of Havana (former Panart studios) owned by the newly formed EGREM. These early sessions included Paquito D'Rivera on alto saxophone and clarinet, Alberto Giral on trombone, Julio Vento on flute, Carlos Emilio Morales on guitar, Kike Hernández on double bass, Emilio del Monte on drums and Óscar Valdés Jr. on congas. Throughout the 1960s and 1970s, these would be the members of his jazz combo, whose lineup would often change, sometimes including bassists Cachaíto and later Carlos del Puerto, and drummers Guillermo Barreto and later Enrique Plá.

Chucho Valdés is at the top of his game here, on Tribute to Irakere (Live in Marciac). There is a visceral excitement in the performance, where the music is played in the idiomatic vein of Irakere. This means the creation of an attractive, edifying atmosphere in Marciac with the celebrated collision of African polyrhythms together with a polyphony born of Cuban folk forms that Chucho Valdés is so well known for adapting to his electrifying style.

Terra feels like an attempt to move Mariza into the musical mainstream. She's already established herself at the forefront of fado, as one of the leading performers of the emotive Portuguese style, and there's no doubt she possesses a wonderful voice. But the addition of several guests, such as Chucho Valdés, Ivan Lins, and Tito Paris (among others) seems to open up the seams between fado and other genres, including Brazilian music and jazz. It does so relatively subtly, and she keeps her base pretty firmly in fado (witness the glorious "Ja Me Deixou"). Her duet with Paris on "Beijo de Saudade" is a highlight, and the voices play off each other gloriously, hers pure and clear, his gruff and harsh. Ultimately, the question is whether it all works, and it does, because it doesn't try to do too much, just a small re-positioning, although what the future will bring remains to be seen.