Legendary bassist EDDIE GOMEZ has been on the cutting edge of music for over four decades. The Latin GRAMMY® award-winner’s impressive resume includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan and Benny Goodman. Eddie’s unique sound and style can be heard on hundreds of recordings spanning the worlds of jazz, classical, Latin jazz, rhythm & blues, popular and contemporary music.

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.

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 Mann, Kenny Burrell, Mose Allison, Candido, Xavier Cugat & His Orchestra, Sergio Mendes & Brasil 66 and many more.

Listen to the opener, "Dile Que Venga," "Calumbo," or their version of Frank Cabrera's classic stomp "La Lloradora," and you will hear a big band in choppy harmonic bliss cutting across Latin music, jazz, and even R&B with a vengeance. Of the ballads, El Topo's gorgeous "Pobre de Mi" and Lupe's own "Amor Verdadero" are her finest performances here.

"It's an album that is tightly constructed, like movie editing in the sense that the clarity of musical ideas are presented to maximum effect, be it a simple melody, a curious rhythm, or an electronic touch here and there. It remains rich, too, in the way that a favorite record is what you keep returning to, an important objective of ours. It tells a story about Omar's relation to jazz, Afro-Cuban rhythms and spirituality, the piano, and a freely expressive mind".

With every passing year, pianist Omar Sosa continues to define what contemporary world music can be. Each effort is quite different than the previous one, while the bright colors, timbres, and elements of his Cuban-based music are elevated higher and higher. In his restlessness to find further truth and beauty, there's a calm serenity and unabashed confidence in his vision and personal musicianship.

Not a greatest-hits album (like he was shooting for hits) nor a thoroughgoing anthology of Paquito D'Rivera's Columbia period (only the first five of his seven albums are covered), the word "taste" is an intriguing choice, though at 74 minutes the CD is a bit more than just a taste. But then, since Sony has done a real number on his catalog by not reissuing those first five albums, A Taste is all that CD buyers can sample from Paquito's first American recordings.

This is a repackaging of a release from 1960 credited to both the René Hernandez Orchestra and the René Hernandez Orchestra with Pacheco, called Percussive Latino Cha Cha Cha (Audio Fidelity label). According to Discogs information this session was recorded in November, 1957, in New York City.

Cinzento is the third studio outing from Marcos Valle in two years. After the critical acclaim for 2019's disco-fied Sempre in June 2019, Valle returns to the essence of Brazilian pop and samba on Cinzento ("Gray"). The set was recorded for the independent Deck Disc and is loosely related to his classic 1973 offering Previsão Do Tempo ("Weather Forecast"). Deck label boss Roberto Ramos, who has reissued several Valle titles including Previsão Do Tempo, buttonholed the artist in 2018 and exhorted Valle to cut an album for Deck at their studios, while looking to the 1973 album for inspiration. He accepted.
Valle revisited the 1973 collaboration with Azymuth, who were still a young band, not yet the influential fusion trio they would become…

Souza's voice is one of elegant restraint and sensuousness. Hers is not an overpowering vocal presence, but rather, a very inviting one. She seduces deliciously with gentleness and whisper-to-the mic sultriness. That feeling is pervasive across an interesting selection of ballads, bossas (Antonio Carlos Jobim's "Dindi"), softer swing ("Delectable You," "Full Moon") and soft-rock grooves ("Night Demon").

What you see is what you get, an excellent little compilation of the various faces of soul-jazz as presented by the Verve label with their amazing array of artists from Hugh Masekela to Willie Bobo and Herbie Mann on the one hand, and Dizzy Gillespie, Jon Hendricks (in an outstanding reading of Herbie Hancock's "Watermelon Man") the Heath Brothers, and Teddy Edwards on the other. The track list is wonderfully varied, too: there's a smoking version of Hancock's "Cantaloupe Island" by Masekela, a pair by Jimmy Smith, and a big band – a new entry by the acid jazz group the James Taylor Quartet, but they get it deep; and Wynton Kelly goes deep into soul and blues with "Escapade." Anyway you cut it, it comes out great.

Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary, Azymuth. Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound. The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.

There were Brazilian jazz-funk records before Azymuth's 1975 self-titled offering, but none of them engaged with post-tropicalian psychedelia, MPB, samba, and disco the way this date does – so much so that the bandmembers called their music "samba doido," which translates as "crazy samba." Azymuth were formed in 1973 by José Roberto Bertrami (keyboards), Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion). All three had been active session players in the decade before. After playing some club dates and backing other musicians on-stage and in the studio, they began recording Azimüth in 1974, completing it nine months later…

Swing-to-boppers Gibbs (vibes) and DeFranco (clarinet) love playing unison melodies, and the sonorities of those two instruments coming together provides the springboard for this swinging music. It's all based on the witty compositions of Steve Allen, songs the general public have rarely heard. The combination fits all of the participants to a T.
This is mainstream jazz at its current best, but unless you're a hard core fan (or Steve Allen himself, ) you'd be hard pressed to say you know this material intimately. There are some familiar sounds, "Until I Left Chicago (I Never Had The Blues)" is similar to Louis Jordan's "Is You Is Or Is You Ain't My Baby," while "Alabama Baby" strikes a pose akin to "Comin' Home Baby"…

Brazilian Jazz-funk trio Azymuth and singer-songwriter Marcos Valle once decided to collaborate on a promotional record for South American airline company ‘Cruzeiro’. Luckily for you we've unearthed it from the hazy sun-bleached skies of history. Strap yourselves in for a flight back in time with generous helpings of Jazz, Funk & Bossa Nova.