Top 40 Latin Hits - The Ultimate Top 40 Collection is an explosive, vibrant 2-CD anthology curated by Sony in 2017 to deliver the definitive soundtrack of global Latin-infused dance movements. Spanning decades of rhythmic evolution, this 44-track compilation weaves seamlessly through traditional salsa and mambo grooves, Euro-disco-tinged beach anthems, and modern urban pop smashes. Disc 1 sets the floor ablaze with foundational party mainstays like Kaoma's legendary "Lambada," Los Lobos' rock-infused "La Bamba," and massive modern chart-toppers from Alvaro Soler, Shakira, and Pitbull. Disc 2 keeps the energy at a premium, juxtaposing Michel Teló's record-breaking "Ai se eu te pego" and the rumba-flamenco fires of the Gipsy Kings with cross-cultural masterpieces from Sergio Mendes, Mongo Santamaria, and Rubén Blades. Meticulously compiled and boasting rich, lossless dynamic range, this collection serves as an indispensable, high-fidelity party staple for listeners worldwide.

Recorded live to tape at Penrose Recorders by Gabriel Roth, AMÉRICA! expands on the classic Mambo sounds that the band has become known for — blending Latin soul, boogaloo and salsa - all while staying true to their Cuban roots. On their fourth studio record, the band introduces an all-star line-up of new singers including Mariam Elhajli and Carolina Oliveros (of Combo Chimbita). Elhajli and Oliveros both tap into the raw energy of Celia and La Lupe, but turn the lens toward something more intimate: themes of loss, upheaval, and the weight of the immigrant experience.

Tito Puente By virtue of his warm and buoyant stage manner, constant touring, longevity, and appearances in the mass media, Tito Puente became one of the most beloved symbols of Latin jazz. But more than that, he managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos, and saxophone. His appeal cut across all ages and ethnic groups, helped no doubt by Santana's best-selling cover versions of "Oye Como Va" and "Para Los Rumberos" in 1970 and 1971, and cameo appearances on The Cosby Show in the 1980s and the film The Mambo Kings in 1992. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere. Rooted in Spanish Harlem, of Puerto Rican descent, Puente originally intended to become a dancer, but those ambitions were scotched by a torn ankle tendon suffered in an accident.

On Tjader-Ized: A Cal Tjader Tribute, the legendary American mallet virtuoso and Spyro Gyra anchor Dave Samuels leads an absolute vanguard assembly of Afro-Caribbean masters to deliver a spectacularly sun-drenched, heavy-grooving, and masterfully explosive studio document. Released in 1998 by the historic Verve label, this vibrant tribute milestone stands as the definitive contemporary celebration of vibraphone icon Cal Tjader's monumental legacy, seamlessly bridging classic mambo structures with modern post-bop and electronic keyboard sensibilities. Spanning over 63 minutes of immaculate high-fidelity spatial design, the 11-track landscape operates with an intense, heavily syncopated, and beautifully infectious kinetic energy. Samuels acts as a brilliant sonic bridge for a cross-generational mega-ensemble—firing off magnificent tracking highlights like the hard-hitting, percussion-heavy anthem Soul Sauce, the fierce horn arrangements of Viva Cepeda, and a breathtakingly soulful, modal transformation of Antonio Carlos Jobim's Triste. Driven by Samuels's sparkling, lightning-fast vibraphone runs, a staggering dual-piano cockpit featuring icons Eddie Palmieri and Michael Wolff, and the volcanic polyrhythmic push of Ray Barretto and Horacio "El Negro" Hernandez, this pristine archive remains an indispensable masterpiece for serious Latin jazz purists and global percussion collectors worldwide.

Made by Hand is a spectacularly explosive, historically monumental, and masterfully synchronized Afro-Cuban and Latin jazz studio masterpiece led by the legendary Bronx-born master percussionist and directional vanguard pioneer Bobby Matos, digitally preserved and released on compact disc in 2004 under the independent preservation imprint Lifeforce Jazz Records. Spanning nearly 63 minutes of breathtakingly intense, heavily syncopated organic-acoustic interactions across 8 definitive tracking alignments, this high-fidelity document serves as an absolute peak monument in early-2004 West Coast Afro-Latin groove archaeology. Rooted deeply in the raw Nuyorican street-rhythm traditions of the 1960s and 1970s, Matos utilizes this expansive studio laboratory to execute a fierce, forward-thinking sonic blueprint that celebrates the complex rhythmic geometry of the clave while expanding it through sophisticated modern modal jazz architectures and explosive horn-driven arrangements.

Cafe Cubano is a spectacularly vibrant, historically monumental, and masterfully synchronized Latin jazz studio masterpiece led by the acclaimed American composer, arranger, and multi-instrumentalist Jeff Steinberg, released in 2007 by the independent preservation imprint Village Square Music. Spanning over 44 minutes of deeply infectious, sun-drenched rhythmic interactions across 12 timeless selections, this high-fidelity restoration serves as an absolute pinnacle statement in mid-2000s mainstream big band and crossover architecture. Conceived as a highly stylized laboratory to breathe fresh structural oxygen into historic Great American Songbook standards and classic jazz melodies, Steinberg utilizes this unique, percussion-heavy ensemble framework to execute a highly refined sonic blueprint that seamlessly marries traditional swing-era horn counterpoint with sophisticated mambo, cha-cha, and bolero rhythmic matrices.

Latin From Manhattan is a spectacularly explosive, historically monumental, and masterfully synchronized large-ensemble masterpiece led by the legendary American multi-reed vanguard icon, arranger, and longtime Yellowjackets saxophonist Bob Mintzer, released in 1998 by Tom Jung’s premier audiophile preservation imprint DMP. Spanning nearly 60 minutes of staggering technical execution and breathless polyrhythmic fire across 10 extensive tracks, this high-fidelity document serves as an absolute peak monument in late-1990s progressive big band archaeology. Transitioning his world-class New York studio orchestra into the vibrant world of Afro-Cuban and Puerto Rican syncopations, Mintzer utilizes this unique laboratory to execute a fierce, forward-thinking sonic blueprint that seamlessly marries the powerful punch of swing-era horn architecture with complex mambo, rumba, and salsa rhythmic matrices.

These 48 masterpieces from Latin America provide an immersion in the musical diversity of the continent that is South America. Habanera, danzón, choro, samba, tango, rumba, mambo and cha-cha-cha illustrate Latin America’s creativity in its music, notably thanks to the richness of popular Creole music forms, and together they represent a true national identity through music.Philippe LESAGE

Mirror to the Soul, a compilation that pairs a 2xCD set with a two-hour documentary made up entirely of clips from the archive of British Pathé, brings together music, film, and writing to provide a perspective on the Caribbean that encourages cultural links and connections. It's more about curation than it is about crate digging.

Omara Portuondo, Eliades Ochoa, Francisco Repilado (Compay Segundo), Ibrahin Ferrer y Rubén González, all legendary figures of the Cuban music scene, shine in the recording world for their invaluable contribution to the success reached by Buenavista Social Club. This collection offers us five compilations on 5 CD’s, each dedicated to these five legends. They include selected themes of anthologies previously published from these great artists. It also includes a booklet with wide comments of noted musicologists deepening the history of each one of these figures and their significance in the Cuban musical context.

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico.

Music from and inspired by his films - 3 double-CDs in a deluxe limited edition boxset. Each of the double CDs was released earlier and has own catalog number. Rediscover the best of QUENTIN TARANTINO's filmography including the films "Kill Bill", "Pulp Fiction", "Inglorious Basterds", "Reservoir Dogs" or "Jackie Brown", through this splendid 6CD box set from the Music Brokers label. We will find here only the official music with artists including Nancy Sinatra, Urge Overkill, Joe Cocker, Johnny Cash, Serge Gainsbourg, Guy Mitchell, The Coasters, Woody Guthrie and many others!

The boogaloo is an infectious and little-defined dance that dominated American dance records in the mid-60s. It was the joyous place where young black and Latin youths met and made sweet music. All previous Boogaloo compilations have focused on the Latin aspect, “Let’s Do The Boogaloo” looks at how the music crossed over between the two. The boogaloo craze started in Chicago with a record by Tom & Jerryo, but it proved to have an enduring legacy with its hit-making potential running from 1965 through to 1968 – much longer than any other comparable dance. Our earliest records – The infectious ‘Ready Steady Go’ by Prince & Princess, produced by Rolling Stones producer Jimmy Miller – kicks us off with a frenetic beat and some Latin horns. It is the perfect boogaloo crossover. Elsewhere we feature big sounds from both the soul and Latin side of the music. Club classics by the likes of Hector Rivera and Roy Lee Johnson, and obscurities by The PS 54 School Yard and Shirley Butler. The musical aspects of this compilation hail from as far apart as Texas and Detroit and Philadelphia and LA, where we found the previously unreleased Bob & Earl Band ‘Boogaloo’.

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring woman on the album jacket for best results. Liberty Records co-founder Si Waronker called it Exotica; the soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. In the five years after Exotica—Martin Denny’s 1957 landmark Liberty debut—arrived, hundreds of other ethnographic forgeries washed up in record racks all over the U.S., bearing titles like Sophisticated Savage, Sacred Idol, Chant of the Jungle, Polynesian Paradise, Exotic Paradise, Taboo, Primitiva, Forbidden Island, Afrodesia, Hypnotique, Percussion Exotique, and a barrel’s worth of other portmanteaus. “All of those ica and itiva endings I came up with because I thought I was being cute,” Waronker said. “And I don’t know why, but nobody got wise.”

The third in a new series from Jazzman featuring selections from Greasy Mike, the notoriously shady Super Spiv from the dark underworld of super rare records! After many years in hiding, we've finally persuaded Greasy Mike to open up his vinyl dungeon, and we were first to raid it! We have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto our black wax long player vinyl editions. Watch out for more!!!