Spanish Songs of the 16th century A genuine potpourri of different songs and languages always following the notion of “docere et delectare” (to instruct while giving pleasure), the famous Ensaladas of Fletxa, Carceres, Vila and Chacon constitute a unique genre in 16th century Spanish literature and music. They are certainly related to the French ‘fricassée’ and the Italian madrigal comedy, and sometimes pay tribute to Janequin. The genre delighted listeners throughout the 16th century with its depictions of the eternal struggle between good and evil, portraying such varied characters as Lucifer, the virgin Mary, rustic shepherds, shipwrecked pilgrims, Adam and the ancient prophets.

Eros Ramazzotti stretches his wings and covers a wider variety of styles on his 1996 album Donde Hay Musica. This outing is much less rock-oriented than the previous Todo Historias. The album opens with the pop feel of the title track and never really ventures into the guitar-laden territory that dominated his previous effort. Standout cuts include the ballads "Yo Amare" and the beautiful "Casi Amor," as well as the album's closer "Buena Vida." Other high points include "Este Inmenso Show," which is upbeat, bears a hip-hop influence, and ends as a soaring, gospel-tinged number complete with a saxophone. "Yo Sin Ti" finds Ramazzotti exploring more Latin sounds, and the result is a pleasant, sunny, and breezy offering. "La Aurora" is also a good song, finding Ramazzotti sounding somewhat like Phil Collins. The only problem with "La Aurora," however, is that it sounds a tad too similar (especially in the chorus) to his earlier hit "A Medio Camino" (from the Todo Historias album). If it worked once, it will work again, correct? Not entirely, because this album is, first and foremost, a departure from his earlier sounds and makes for quite a pleasant listening experience.

The young Egyptian soprano Fatma Said, praised for the luminosity and rich colours of her voice, makes her recording debut for Warner Classics with El Nour. Her enticing and absorbing recital programme crosses cultures, combining art songs by French, Spanish and Egyptian composers with Egyptian folk songs and popular songs from the Middle East. As she explains, “‘El Nour’ in Arabic means ‘the light’, and this album sheds light on how music that has been interpreted many times can be perceived in a different light. The idea is to connect three cultures – Arabic, French and Spanish – and to show how much, despite cultural, geographical and historical differences, they have in common when it comes to music”.

Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

The question that must be confronted for those familiar with the breadth of her work is, "Is it even possible for Celia Cruz to record a bad album?" With elements such as producer Emilio Estefan, Jr., executive producer Angel Carrasco, and of course, la guarachera del mundo herself converging to create 2000's Siempre Vivire, the answer to that question seems clear. Celia's first album for Sony certainly captured those elements that uniquely belong to Cruz, and discriminatingly avoided any influences of the day that might adulterate those qualities or date the project. In conceiving this record, the creative team walked a very fine line by deciding on a project that could both stand among its contemporary peers and yet sound classic. It is hard in modern salsa to find the tres, a sultry bolero, or to hear plena played well. In a genre that continues to narrow its stylistic scope, it's refreshing to come across a record that can simultaneously be a citizen of the present, and reach to the past.