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.

This album highlights the remarkable talents of Markolino, who wrote and arranged every selection. His expressive keyboard work serves as the driving force behind the orchestra, guiding dynamic arrangements that flow effortlessly and invite the listener into the music. This album delivers energy, groove, and artistry in every note.

A 1968 album with Barretto in midst of his most productive period. He had made inroads into pop and jazz markets and was a dominant figure on the Latin jazz and salsa circuit. The album not only provided the great conga player and percussionist with a nickname, it yielded hit single "Abidjan" and also brought personnel changes. Joseph Roman replaced Rene Lopez on trumpet (he'd been drafted), and Tony Fuentes joined the group on bongos.

Raymundo "Ray" Barretto Pagán was an American percussionist and bandleader of Puerto Rican descent. Throughout his career as a percussionist, he played a wide variety of Latin music styles, as well as Latin jazz. His first hit, "El Watusi", was recorded by his Charanga Moderna in 1962, becoming the most successful pachanga song in the United States. In the late 1960s, Barretto became one of the leading exponents of boogaloo and what would later be known as salsa. Nonetheless, many of Barretto's recordings would remain rooted in more traditional genres such as son cubano. A master of the descarga (improvised jam session), Barretto was a long-time member of the Fania All-Stars. His success continued into the 1970s with songs such as "Cocinando" and "Indestructible". His last album for Fania Records, Soy dichoso, was released in 1990. He then formed the New World Spirit jazz ensemble and continued to tour and record until his death in 2006. He is the father of American vocalist and saxophonist Chris Barretto, best known for being the former singer of progressive metal bands Monuments and Periphery.

A master of the traditional and the progressive, the styles of the past and the bright, swinging future, Eddie Palmieri is one of the most influential Latino pianists of the 20th century. His extreme versatility and artistic vision are brilliantly displayed on The Sun of Latin Music. While most Latin jazz musicians fall into either staunch traditionalism or pursuing progressive ideas to the detriment of groove and accessibility; Palmieri marries both ideals effortlessly. With smooth, danceable rhythm, lush vocals, and a clear center to the song, combined with sophisticated arrangements, tunes like "Desea Salvaje" and "Nunca Contigo" both swing the dancer and captivate the discriminating listener.

Eliades Ochoa, the Cuban singer, songwriter and guitarist well known as one of the original members of Buena Vista Social Club, returns with his brand new album 'Guajiro', a collection of beautiful and melodic songs that cements his reputation as one of the most important artists to come out of Cuba in the last century. Featuring guest artists Rubén Blades, Joan As Police Woman and Charlie Musselwhite.

With her powerful pipes, stunning showmanship, and superhuman sense of timing, Celia Cruz defined her chosen genre like few other performers in the history of popular music. EXITOS ETERNOS is a collection of tracks the "Queen of Salsa" recorded during the last decade of her life that, despite the vocalist's advanced age, clearly show Cruz's talents never wavered. Known for her uncompromising attitude and refusal to sing in English, Cruz valued aesthetic purity, but never became a museum piece. A driving pulse and rhythmic toasting that recall dancehall reggae propel her 2001 hit "La Negra Tiene Tumbao," and other tracks feature subtle synthesizer textures. Unlike lesser artists, however, Cruz is able to incorporate these disparate sonic colors seamlessly, making them sound as traditional as a conga drum or guiro. Of course, the unrelenting force behind each recording is Cruz's astounding voice, the sheer energy of which makes even these later recordings sound both classic and utterly contemporary.