The legendary Preservation Hall Jazz Band present the soundtrack to A Tuba to Cuba, the critically acclaimed documentary directed by T.G. Herrington and Danny Clinch. The film follows Ben Jaffe of New Orleans’ famed Preservation Hall Jazz Band as he seeks to fulfill his late father's dream of retracing their musical roots to the shores of Cuba in search of the indigenous music that gave birth to New Orleans jazz. A Tuba to Cuba celebrates the triumph of the human spirit expressed through the universal language of music and challenges us to resolve to build bridges, not walls.

Few artists would dare to tackle quite such a kaleidoscope of music styles and accompanying socio-political issues in the space of 12 songs and 66 minutes. And yet France-based Senegalese virtuosic bassist, vocalist and composer Alune Wade, who’s worked with Joe Zawinul, Marcus Miller, Oumou Sangare, Bobby McFerrin, Youssou N’Dour and others, achieves this with effortless mastery on Sultan, his fifth solo album in 15 years.

One of the best all-star sessions ever produced by the legendary Creed Taylor. Actually, this album represented the ressurrection of the CTI label in 1990. Digitally recorded and filmed (in High Definition) "live" at Van Gelder's studio, features such stars as Dizzy Gillespie, Airto, Flora Purim, Anthony Jackson, Art Farmer, John Scofield, and Phil Woods, who play together in such outstanding tracks like Michel Camilo's "Caribe" and Salif Keita's "Wamba", all arranged by Benny Golson.

While the music that came to be termed "salsa" originated in Cuba, Puerto Ricans have been among its strongest supporters. One New York-reared puertoriqueno who soared to the top of the salsa world in the 1950s was timbale player/vibist Tito Puente. Boasting such early Puente gems as "Cual Es La Idea," "Oye Mi Guanguanco" and "Yambecua," the exuberant, infectious Cuban Carnival is essential listening for anyone with even a casual interest in Afro-Cuban music. Many of the players Puente employs in his driving orchestra - including Mongo Santamaria, Willie Bobo and Carlos "Patato" Valdez - would become among the most celebrated percussionists in Latin music. Whether the style is mambo, son, cha-cha or rhumba, Cuban Carnival is outstanding from start to finish.

A host of horns, trumpets, sax, electric guitar and traditional Senegalese drums all feature on Awale Jant Band’s new studio album – YEWOULEN –Senegalese soul recorded and mixed in the heart of south London’s Peckham Road Studios, SE15. Awale Jant Band have good reason to celebrate! The band’s last 2019 concert was an all-African celebration headed by "perhaps the greatest drummer ever" (Brian Eno), Nigerian percussion master Tony Allen and then straight into 2020, with YEWOULEN - their first signed album for international release on the ARC Music label.

One of this year's most exciting salsa releases came out of the Bay Area. A mostly young group plays the kind of expanded Latin-jazz that too often goes unnoticed amid a host of tipico recordings. Roots it has, in Afro-Cuban religion and in the music of groups from Machito to Irakere. A sleeper, it also has imagination, verve and skill.

Time is Now is like a delightful summer breeze, a refreshing album that recreates with absolute freedom some of the most excel and refined Latin American and classic repertoire. Mario Bauzá made it possible with that characteristic sound, filled of Latin flavour and vigorous radiance that will captivate you from the first track. You won't believe the mesmerizing adaptation of "Mack the Knife", for instance. Don't let this album pass in front of you. Go for it and enjoy it forever.

During his final two years, Mario Bauzá and his newly formed Afro-Cuban Jazz Orchestra recorded three albums, of which 944 Columbus (made just two months before his death) was the last. Three of the ten selections on the CD are dominated by vocals, but jazz is a very strong element throughout these sessions with a variety of fine solos, particularly from trumpeter Michael Mossman. The percussion section blends in well with the horns in this 19-piece orchestra and the final statement from the father of Afro-Cuban jazz is a memorable one.

Music is one of the most magical of all the arts. It can, by its mere sound, excite the body to such an extent that it leaps up and dances - in most cases instinctively; with eyes closed it can suggest a palette of a myriad colours; and by its sheer mystical nature music can heal the body and the mind of many ailments. Bobby Matos’ music does all of this and some more. It helps pay homage to the soul and the spirit. This is once again evident in the music of Mambo Jazz Dance. There is an inherent energy that converts musical notes here that drives the mind into a state of trance where it seems to become a kind of crucible into which the mambos and the boleros of Mr. Matos pour themselves, stirring the mind into an interminable dance. The exciting aspect of this musical unguent is that it is invisible and soon fills all parts of the body, awakening it and pushing it into an ebullient mambo, no less…

If you wonder (a) why Barretto suddenly has such a hot band, (b) what the two hokey Mexicali cuts are doing mixed in with all the other fine stuff, and © why there are zippo notes, one explanation fits all. This CD, copyright 1994, is a re-release of one of Barretto's long-lost 1960s United Artists recordings. But the music is terrific: a hell of a swing, great solo trumpet.

It’s been two years since the release of "Koan" through Dodicilune, and fourteen years since "Quintessenze", the album that he shared with saxophonist Nagual, and now Nicola Cristante is back with a new album as leader; he has temporarily left aside jazz to give voice to the Afroroutes Projects which has seen him collaborate assiduously with Senegalese drummer and percussionist Moulaye Niang.
Theirs is a similar research which joins African musical traditions to the music of the Americas and singer Milky Malick, who works especially in the reggae field, makes such research even more original. The musicians involved by the Venetian guitarist in such new adventure are all Senegalese, and every track is imbued with Africa through evocative, colorful reflections upon Cristante’s essential and lucid guitar which gives away his blues and funk influences…

Mango Santamaria utilizes a colorful cast of musicians on this CD. Flutists Hubert Laws and Dave Valentin are featured on two songs apiece (although unfortunately not together) and the nonet has trumpeter Eddie Allen, altoist Jimmy Cozier, and Craig Rivers on tenor and soprano, along with three percussionists. There are a lot of percussion features including the closing nine-and-a-half minute "La Mogolla," making this an excellent if not quite essential recording.

There may never be a setting as beautiful or a locale as ideal as a breathtaking ocean view complete with the sounds of beautiful Latin jazz floating over the ocean breeze. The fifth CD in the Colors of Latin Jazz series sets the scene for a collection of contemporary, smooth jazz peppered with Latin rhythms and percussion. This CD is a musical hybrid that's at once cool and smooth, yet hot and spicy! Up first is Jeff Linsky's beauty "Up Late," originally issued on Up Late by Concord Picante. His dynamic colors beckon the listener to "Come With Me," the second track sung and scatted by the inimitable Tania Maria on a cool samba just right for a hot day or night. Another smooth scorcher, "San Sabastian" by Ed Calle with special guest Arturo Sandoval is some of Sandoval's most melodic sax work bordered on all sides by the beauty of Spanish guitar, brass, and strings.

This 1973 Paris studio session first appeared on the European label America as The Giant, but there has been some confusion as various combinations of songs have appeared under the same album title with Dizzy Gillespie's name over the years. Although rather brief in length with just five tracks and clocking in at under 34 minutes, this lively date has some strengths. The trumpeter turns over the solo spotlight to the extraordinary bassist Niels Pedersen and pianist Kenny Drew, prior to featuring himself in brief spurts with drum breaks by Kenny Clarke. Pedersen's fine arco technique introduces the brief ballad "I Waited for You," in which Gillespie is clearly at the top of his game. His muted horn saunters over Clarke's crisp brushwork during "Girl of My Dreams," although the overlong Latin original "Fiesta Mojo" quickly grows tiresome, in spite of a guest appearance by tenor saxophonist Johnny Griffin…