In November 1999, Vargas Blues Band travelled to the U.S to record their first live album in “Buddy Guy´s Legends” in Chicago, with guest performances by Larry McCray, harmonica musician Sugar Blue and flamenco ‘cantaora’ Elena Andújar. The concert was recorded by a mobile unit under Ian Taylor’s supervision. Javier also played onstage in the ‘Legends’ invited by Texan guitarist Chris Duarte. In December that year the recording was completed in Kirios Studios, in Madrid, with outstanding guest performances by Elena Andújar, David Montes, flamenco guitarist Juan Gómez “Chicuelo”, percussion by Gino Pavone, Argentine bandonion player Jorge Lema, and the ‘cantaor’“Marchena”, David “Lads” Sánchez at the keyboards, Jota Marsán on drums, Fran Montero on bass and Ian Taylor again in charge of the recording. The record Madrid-Chicago Live and the video recording of the ‘making of’ were released in May 2000.

The Legend Of Cuban Percussion is a 2000 CD by Carlos Valdes, known simply under the nickname Patato. This album was released by the Six Degrees label.

Idolized in his country but less known abroad, Dorival Caymmi (1914-2008) is one of the most influential singer-songwriters in the history of Brazil's popular music. Major figures such as João Gilberto, Gilberto Gil and Caetano Veloso have sung his praise and cited him as a prime source of inspiration for their work.

How many albums today feature a sorceress on the harp, an instrument more often played by winged angels? "La Bruja de Texcoco", a practising witch and healer, is one of several Mexican musicians who join Sonido Gallo Negro in their latest and very danceable exploration of Afro-American rhythms.

This is series of seriously intoxicating Latin and American Bossa-Samba-Jazz sounds! It all began in the '50s when composer Antonio Carlos Jobim, inspired by West Coast Jazz, helped to form a new music that blended together gentle Brazilian Samba rhythms and melodies with cool-toned improvising. These compilations contain the results of Jobim's influential musical experiment, as they feature a myriad of artists serving up a cocktail blend of rare original Brazilian and American Bossa Nova and Jazz from the 60's. Each volume comes complete with a different sexy vixen on each of the covers…and we do mean SEXY! Includes 80 tracks featuring classic performances by Les McCann, Mongo Santamaria, Cal Tjader, The Champs, Lalo Schifrin, Nina Simone, Stan Getz, Art Blakey, Mel Torme, Peggy Lee, Dizzy Gillespie, Herbie Man, Kenny Burrell, Mose Allison, Candido, Xavier Cugat & His Orhcestra, Sergio Mendes & Brasil 66 and many more.

In February of 2015, Grammy Award-winning band Snarky Puppy recorded Family Dinner Volume Two in front of a live studio audience with guest instrumentalists and vocalists from all over the world. A companion piece to the monumental album, this documentary/concert-film features exclusive candid interviews and acoustic performances from the guest artists. The project is a true testament for showing first-hand how music can be a bridge between diverse cultures from countries from all over the world to create a unifying musical statement for the average listener or the devout music-connoisseur.

Tango accordion has a clear icon in the late Astor Piazzolla, but these days Richard Galliano is making a strong case for being the premier jazz accordionist. He's as lyrical as one needs, swings like mad, or brings tempos down to a sensual jog with passion and soul. When called upon, he can play a gut-wrenching tango or two himself. For this effort he's joined by two different crack rhythm sections, the brilliant Jean-François Jenny-Clark and Daniel Humair (seven tracks), or the slightly cut below Remi Vignolo and Andre Ceccarelli (four tracks), bass and drums respectively. It's not hard to hear a distinctly French but improvisationally Americanized sound. The lone standard, "You Must Believe in Spring", is one of many waltzes, but this one jumps from second to fifth gear, Galliano rapidly flying through the changes. The title track is also quick, with "Augusta" more a sprightly 3/4, while "L'Envers du Décor" is an easier modal three beat. Nods to Brazilian Hermeto Pascoal are heard on his composition "Bébé" and the mallets on drums and heavy conga beat-based fanfare and theme of "Passarinho".

Ils sont originaires de Valparaíso, de Roubaix, de Lima et de Barbès mais ils sont partout chez eux ! Sidi Wacho c’est du « ni vu à la télé, ni entendu à la radio » parce que trop occupé à balancer des buenas ondas sur les scènes du monde entier.

After a long wait finally diva Amanda Miguel brings us this wonderful album "80 - 15" which shows us that since the 80's and 2015 remains the Queen of Ballads, joining in a record yesterday and today their music without losing it's essence, his touch and especially his wonderful style that only she can express in such beautiful songs.

Two of the influential João Gilberto's LPs (Amoroso and Brasil) are combined on this single CD. The former session is pretty definitive with Gilberto interpreting four of Antonio Carlos Jobim's compositions (including "Wave" and "Triste") and four other songs (highlighted by "Besame Mucho," "Estate," and an odd 31-bar rendition of "'S Wonderful"). The strings (arranged by Claus Ogerman) are unnecessary but Gilberto proves to be in prime form. The later album also has its moments of interest (including a Brazilian version of "All of Me") and finds Gilberto backed by Johnny Mandel arrangements and assisted by singers Caetano Veloso, Gilberto Gil, and Maria Bethania. Overall there is not much variety throughout this gently swinging program but these are a pair of Gilberto's better post-1970 recordings.

Draco Rosa, also known as simply Draco, is a Puerto Rican singer/songwriter whose career spans several decades. Born Robert Edward Rosa Suárez on June 27, 1969, in Long Island, New York, he grew up in Peñuelas, Puerto Rico. He began his performance career at a young age, joining the Puerto Rican boy band Menudo in 1984. Then known as Robby Rosa, he made his debut on the band's first English-language album, Reaching Out (1984). He was featured on one of the band's biggest hits, "Sabes a Chocolate," soon afterward before leaving the band in 1987.

After many years of playing music I followed my inner drive to create this album. My approach transcends the boundaries and incorporates contemporary jazz, jazz fusion, Brazilian jazz, and music that is acoustically based. My goal is to reach the listener through the blending of the piano with the synth and the guitar. As the textures have been explored to date, many people have inquired about my collaborations on this project. I have completed this work all on my own.
My intention with this recording is to inspire the listener to become introspective with regard to what can be achieved musically.

Astrud Gilberto's entry in the nicely appointed Verve Jazz Masters compilation series shows exactly why the Brazilian singer is deserving of such an accolade. In her '60s heyday, Gilberto was often derided by jazz purists for her vibrato-less "desafinado" (deliberately slightly off-pitch) singing style and deadpan, childlike voice. But the diminutive bossa nova star has since been a huge influence on dozens of jazz and pop singers. VERVE JAZZ MASTERS is less of a greatest hits package than it is a smartly balanced retrospective of many of Gilberto's best performances. Her biggest hits, "Call Me" and "Summer Samba," are not included, and her signature tune, "The Girl From Ipanema," is only represented by a live take from a 1964 Carnegie Hall concert. The collection places equal emphasis on Gilberto's bossa nova-style interpretations of jazz standards and on her signature Portuguese-language sambas.

Combined with 40 years of hits, Santana performed many of the songs from his double-platinum US Latin-certified and critically-acclaimed album CORAZÓN at a once in a lifetime concert event in December 2013, accompanied by many of his album special guests, all celebrating their Latin music heritage in Guadalajara, Mexico (in his native state of Jalisco). The CORAZÓN project brought Carlos back to his birthplace and celebrates Carlos’ love of his musical heritage, as well as showcases Carlos’ own personal influence on Latin music and on today’s generation of Latin superstars. Superstar guest performers who joined Santana at the concert event captured on this CD include Elan Atias, Chocquibtown, Lila Downs, Gloria Estefan, Juanes, Miguel, Fher Olvera (of Maña),Niña Pastori, Samuel Rosa (of Skank), Cindy Blackman Santana, Salvador Santana, Romeo Santos, Soledad, and Diego Torres.

Santana is the third studio album by Santana. The band's second self-titled album, it is often referred to as III to distinguish it from the band's 1969 debut album. The album was also known as Man with an Outstretched Hand. It was the third and last album by the Woodstock-era lineup, and it was also considered by many to be the band's peak commercially and musically, as subsequent releases aimed towards more experimental jazz and Latin music.