Maracanós, the new collaborative album by Brazilian pianist, composer, and producer Ricardo Bacelar and legendary percussionist Airto Moreira, will be released worldwide on April 24, 2026, via Jasmin Music. The largely instrumental project features a special appearance by acclaimed vocalist Flora Purim and will be available simultaneously across major international markets, including Brazil, the United States, Portugal, France, Germany, China, and Japan.

Fanzine is a self-titled 1995 release that blends Latin rhythms, funk influences, and the rich melodic textures of MPB (Música Popular Brasileira). The album reflects the mid-90s Brazilian music scene, where contemporary pop production began merging with traditional Brazilian musical elements. Throughout its runtime, the record delivers a smooth and emotionally expressive listening experience, combining rhythmic grooves with romantic and introspective songwriting. Tracks such as “Ainda Lembro” and “Uma História De Amor” highlight the band’s focus on sentimental storytelling, while more upbeat moments like “Eu Vejo” and “Deixa Acontecer” emphasize groove-oriented arrangements. The production maintains a warm analog feel typical of the era, supporting vocal performances that sit at the center of each composition. Overall, this album presents a cohesive blend of Latin-influenced funk and Brazilian pop sensibility, offering both accessibility and stylistic depth.

We Love - Die Coolsten Sommerhitz is a vibrant double-disc compilation that captures the essence of summer through an energetic mix of global hits and feel-good classics. Released in 2004, this collection blends reggae rhythms, Latin grooves, funk influences, and catchy dance-pop anthems into a cohesive celebration of sunny days and warm nights. The first disc leans toward early 2000s chart-toppers and club favorites, featuring upbeat tracks that defined the era’s party atmosphere. The second disc shifts toward timeless summer classics, offering nostalgic sing-alongs and internationally recognized hits. With contributions from a wide range of artists, the album delivers a diverse yet unified listening experience, perfect for beach outings, road trips, or relaxed gatherings. Its carefully selected tracklist ensures a continuous flow of uplifting melodies and infectious rhythms, making it an essential soundtrack for summer moods.

The trio featured in this project pays tribute to some of the great composers/interpreters of South American culture and what it has done for the universe by weaving the thin thread that binds the past to the present. In other words, Paolo Fresu wrote some texts in Sardinian on the music of Linx. Linx adapted some English texts for Pablo Milanés and Famke Sinninghe Damsté as well as writing some texts in Dutch for Milton Nascimento. Beytelmann composed from the world of Piazzolla and embellished Linx's and Fresu's poetry with his touch. Trama Latina is in short, a tribute to the energy that swings between continents and cultures.

Santana Love Songs? There have been two instrumental collections already, so why not? Sony's choices are pretty solid for the most part, and it's obvious this record was created more as a vibe album than a theme one – given that "Samba Pa Ti" is an instrumental, is it really a love song? But this might have been called Music for Loving or Wit the Lights Off or something like that, because the mood is unabashedly romantic though far from syrupy or sentimental. The sheer sensuality in Santana's guitar tone and the placement of percussion in the mix offers plenty of texture for languid amorous tunes like the band's cover of "Stormy" or J.J. Cale's "The Sensitive Kind."

The double-disc compilation The Essential Julio Iglesias contains 37 of the crooner’s biggest hits of the '80s and beyond, slightly favoring his Spanish-language smashes but also containing several English-language crossovers, including duets with All-4-One, Sting, Stevie Wonder, Diana Ross, and Frank Sinatra. The only major item missing is the Willie Nelson duet “To All the Girls I’ve Loved Before” (the song is present in a solo Spanish version), but everything else here is solid.

Bandleader/conga player Ray Barretto continued to assert himself as one of the premier mainstream salsa catalysts of the early '70s with one of his most celebrated albums. Barretto, bass player Andy Gonzalez, pianist/arranger Louis Cruz, timbales master Orestes Vilató, and bongo player Johnny Rodríguez contribute to the band's tough rhythm section; of course, vocalist Adalberto Santiago is a knockout on tunes like the hilarious "Se Traba" and the memorable "Alma Con Alma." One of Barretto's top albums of the 1970s and another example of what made New York salsa so special.

Tropical Gangsters is a vibrant and theatrical album that showcases Kid Creole & The Coconuts at their most stylish and genre-blending best. Fusing disco, funk, and Latin rhythms, the record delivers a playful yet sophisticated sound that reflects the band’s unique blend of humor, storytelling, and tropical flair. Driven by polished production and infectious grooves, the album balances dancefloor energy with quirky lyrical narratives that explore themes of love, satire, and nightlife culture. Tracks like “Annie (I’m Not Your Daddy)” and “I’m a Wonderful Thing, Baby” highlight the group’s signature mix of catchy hooks, brass arrangements, and charismatic vocal performances. The inclusion of extended mixes and remixes enhances its appeal for club-oriented listening, reinforcing its connection to early 80s dance culture. Overall, the album stands as a defining release in the fusion of pop, disco, and Latin-influenced funk, offering both entertainment and musical sophistication.

Sandro Becker Vol. 6 is a lively and rhythm-driven release that captures the essence of Brazilian forró blended with broader Latin influences. Rooted in traditional northeastern Brazilian styles, the album features upbeat rhythms, accordion-driven melodies, and infectious grooves that reflect the festive spirit of regional dance music. Sandro Becker delivers a vibrant performance across the record, combining playful lyrical themes with energetic arrangements that are both accessible and culturally rich. The production maintains a raw and authentic feel, emphasizing percussion and melodic interplay typical of classic forró recordings from the 1980s. Tracks move seamlessly between dancefloor-oriented pieces and more melodic moments, showcasing a balance between rhythm and musicality. The album stands as a strong representation of traditional Brazilian popular music, appealing to listeners who appreciate authentic regional sounds infused with a celebratory and rhythmic character.

“Mama Kalunga” is a deeply expressive and spiritually rich album by Virgínia Rodrigues, one of Brazil’s most distinctive vocalists. Known for her powerful, operatic voice and strong connection to Afro-Brazilian traditions, Rodrigues delivers a collection that blends samba, MPB, and African-rooted influences into a cohesive and evocative work. The album explores themes of ancestry, identity, and spirituality, with compositions that draw from both traditional rhythms and contemporary arrangements. Tracks like “Mama Kalunga” and “Nos Horizontes do Mundo” showcase her emotional depth and vocal control, while pieces such as “Mukongo” and “Luandê” emphasize rhythmic complexity and cultural heritage. Collaborations with artists like Ruth de Souza and Tiganá Santana add further texture and authenticity. With its rich instrumentation, poetic lyricism, and immersive atmosphere, “Mama Kalunga” stands as a compelling modern statement rooted in Brazil’s musical and cultural legacy.