On this 13-track recording of voice and piano duets, there is no doubt from the first note to the last that you are experiencing the complete mastery of two Cuban music legends. Individually, the genius Valdés brings to his instrument, the piano, and the dramatic, bluesy, off-the-cuff singing (in Spanish) of the husky, pitch-perfect, purely articulated Portuondo, can both easily stand alone. But together, in this setting, they are making magic. You'll hear a variety of themes written by non-published Cuban composers (two by Valdés, ) suggested on the spot in the studio. It allows the two a rare spontaneity and freedom from rhythmic structures that is created, not produced. There are songs of love, regret, straight blues, the indomitable spirit of the oppressed Cuban peoples, pleading for salvation, and especially, lost in depression ("No Puedo Ser Feliz" ("Cannot Be Happy").

The names of Johann Sebastian Bach, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff do not necessarily conjure images and sounds of jazz in one's mind, that is until one has listened to recordings by the Classical Jazz Quartet. Although these musicians utilize the same instruments as the Modern Jazz Quartet, they are in no way clones or copycats of that groundbreaking group. They have very much their own sound and style. This is not surprising given the huge talent of the musicians involved; all four are virtuosos on their respective instruments. The themes, although composed in a different time and place, become excellent vehicles for complex, sometimes, bluesy, often swinging and always fresh improvisations in the hands of these musicians.

In 2002, Mark Lanegan was looking to make some changes in how he approached his music – the Screaming Trees had finally collapsed at the end of the '90s, he'd found a new fan base as a frequent guest vocalist with Queens of the Stone Age, and the spare, blues-leaning solo efforts Lanegan cut for Sub Pop were no longer side projects but the first chapters of a new career. As Lanegan was strategizing his next move, he went to Houston, Texas and in five days recorded a dozen songs with a handful of talented local musicians, including guitarist Ian Moore and longtime Willie Nelson sideman Mickey Raphael on harmonica, with Justice Records founder Randall Jamail as producer. While the sessions were meant to be demos for a stack of songs Lanegan had written for Jamail's publishing house, the finished product sounded good enough to be an album, and in 2015 Lanegan finally released the material under the title Houston: Publishing Demos 2002. The jolly irony is that while these are supposed to be demos, in many respects the performances sound more polished and "commercial" than most of Lanegan's early solo efforts, capturing a laid-back but buoyant mood that's informed by country and blues as much as rock, and Lanegan seems comfortable singing with the group, rather than simply laying his vocals over the top.

Formed in France, but rooted in Spanish flamenco tradition, the Gipsy Kings began incorporating pop into their buoyant Latin sound in the late 1980s, eventually leading to massive international success. Released in 1991, ESTE MUNDO finds the ensemble offering up a potent set of acoustic guitar-driven tunes that are marked by percussive strumming, dexterous lead work, and the husky, emotive vocals of bandleader Nicholas Reyes. The core group of six-string players is bolstered on some songs by bass, horns, and/or drums, giving ESTE MUNDO a vibrant atmosphere, particularly on songs such as the surging "Baila Me" and the dreamy title track. Although much of the album is upbeat, the Gipsy Kings also ease into a few mellow instrumental numbers, including the gentle "Lagrimas" and the slightly funky "Ternuras." One of the most consistent and confident outings in the Gipsy Kings' catalogue, ESTE MUNDO is sure to please flamenco aficionados and many other world music fans.

Wisely, Shout! Factory has picked up Maria Muldaur's two early-'90s recordings – this one and Louisiana Love Call – from the defunct Black Top label for reissue. While both these recordings are excellent, it's Meet Me at Midnite that offers a portrait of the artist as a hardcore R&B singer of the highest order. Produced by John Porter, Muldaur surrounds herself with crack studio players including Rick Vito, Johnny Lee Schell, Hutch Hutchinson, Bill Payne, and a slew of others. Where Louisiana Love Call focused on the music of New Orleans, Meet Me at Midnite digs deep into various dimensions of the Memphis sound – soul, R&B, and blues – and concentrates on the myriad stages and phases of love. While it's true that the set opens with "Trouble With My Lover" by the Crescent City's Allen Toussaint, its vibe is pure Memphis: funky, dirty grooves, packed in a tight cut-time beat and Muldaur shouting the blues with a big, clear ringing voice that wrenches emotion from every syllable. Likewise, the title cut by Vito and John Herron crawls down into the blues alley with killer slide guitar riffs winding their way around Muldaur's seductive vocals.