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).

With his beautiful, Lester Young-inspired tone, his grace with a melody, and his willingness to gently push boundaries, tenor saxophonist Stan Getz was known as "The Sound" for good reason. Coming to fame with the Woody Herman band in the '40s, he held his own through both the swing and bebop eras, then found renewed commercial success in the early '60s when a João Gilberto collaboration, "The Girl from Ipanema," was a big hit and ushered in a bossa nova boom. Getz loved playing with bold young players like Chick Corea and Stanley Clarke, and he didn't shy away from new technology, championing the Echoplex for a time. This wonderful set includes the albums he recorded for Columbia Records between 1972 and 1979 (most of which he produced himself), as well as the soundtrack LP to a Dutch film called Forest Eyes from 1979, and a bonus disc of Getz at Carnegie Hall for the 40th anniversary of the Woody Herman band…

Touch of Evil is one of Henry Mancini’s most celebrated film scores, originally composed for Orson Welles’ 1958 noir classic. The soundtrack stands out for its innovative fusion of cool jazz, Latin rhythms, blues, and early rock & roll influences, creating a vivid musical atmosphere that reflects the tension, corruption, and moral ambiguity of the film’s border-town setting. Mancini uses Afro-Cuban percussion, smoky jazz arrangements, and moody instrumental themes to evoke both danger and seduction, balancing dramatic suspense with an energetic nightlife feel. The score moves fluidly between ominous orchestral passages and lively club-inspired pieces, demonstrating Mancini’s versatility and cinematic instinct. Tracks such as “Main Title,” “Borderline Montuna,” and “Background To Murder” showcase his ability to build mood through rhythm and texture rather than traditional orchestral grandeur. Widely regarded as a landmark in film music history, the soundtrack remains an influential example of jazz-infused noir scoring and atmospheric cinematic composition.

The Exotic Delight Bay by Azaxx is a vibrant and rhythm-driven album that blends broken beat structures with downtempo grooves and rich Latin jazz influences. The record creates a warm, tropical atmosphere built on layered percussion, melodic textures, and playful rhythmic experimentation. Each track contributes a distinct mood, ranging from relaxed sunset-inspired passages to more upbeat and dance-oriented sections, while maintaining a cohesive sonic identity throughout. The production emphasizes organic instrumentation alongside subtle electronic treatment, giving the album a fluid and immersive character. Latin-inspired rhythms and jazz-influenced harmonies are consistently present, but they are reinterpreted through a modern electronic lens. The result is a journey-like listening experience that feels both relaxed and dynamic, capturing a sense of movement between coastal imagery, nightlife energy, and dreamy ambient moments without losing its central rhythmic foundation.

Stonephace is a genre-blending project that brings together elements of electronic music, rock structures, leftfield experimentation, jazz improvisation, and Latin-infused rhythmic ideas. The album is built around a fluid and atmospheric approach where compositions often shift between structured grooves and abstract sound explorations. Short interludes and transitional pieces act as connectors, giving the record a cinematic flow rather than a traditional linear progression. Longer tracks develop gradually, layering percussion, guitar textures, and electronic processing to create a dense but evolving sonic landscape. The fusion aspect is central to the identity of the release, as musicians from different backgrounds contribute to a unified yet diverse sound palette. The result is an immersive listening experience that balances improvisational freedom with carefully shaped production, offering both complexity and accessibility while maintaining a strong experimental character throughout the entire record.

Bag Of Goodies is a groove-oriented compilation released by Luv N' Haight that explores the deeper side of soul-jazz, jazz-funk, and Latin jazz through a selection of rare and rhythm-driven recordings. The album brings together underground cuts and cult favorites that reflect the raw energy of late 60s and early 70s funk-influenced jazz scenes. Heavy drum breaks, warm organ textures, sharp horn arrangements, and infectious basslines dominate the compilation, making it especially appealing to collectors, crate diggers, and fans of sample-based music culture. Artists such as Ivan “Boogaloo Joe” Jones and Weldon Irvine contribute sophisticated jazz-funk compositions alongside more direct dancefloor-oriented funk tracks. The Latin jazz influence adds rhythmic diversity and vibrant percussion work, enriching the overall flow of the compilation. Bag Of Goodies stands as a concise but highly effective showcase of rare groove aesthetics and the organic crossover between jazz improvisation and funk rhythm traditions.

One good hit deserves a remake, so Columbia had Mongo Santamaria redo his breakthrough record "Watermelon Man" on his second LP for the label. Indeed, it is this brighter, better-recorded version that we generally hear on the radio nowadays instead of the Battle original. Even better, though, are "Fatback" and the wildly swinging workout on "La Bamba" that kicks off the album, to which you can imagine the foxy blonde model on the cover dancing the boogaloo. Marty Sheller's charging arrangements and trumpet are in the driver's seat of this sports car with the Mongo engine, and Hubert Laws has a ball in his flute and tenor sax solos. Few records embodied the go-go spirit of the '60s as well as this Latin jazz album.

John Pizzarelli's love affair with the bossa nova stretched back over two decades prior to the making of this CD, which is his salute to the legendary João Gilberto. Accompanied by his regular group (pianist Ray Kennedy and bassist Martin Pizzarelli) and augmented by drummer Paulinho Braga and percussionist Jim Saporito, along with several others on selected tracks, Pizzarelli's soft, swinging vocals and strong but understated guitar work their magic throughout the session. While most of the pieces are Brazilian works, there are exceptions. Gershwin's "Fascinatin' Rhythm" is easily adapted into a bossa nova, adding backing vocals and the potent tenor sax of Harry Allen.

Recorded live at the 1971 Montreux Jazz Festival, the blistering Mongo at Montreux captures Mongo Santamaria in the absolute prime of his career, embracing all facets of his expansive musical vision for a set that is far more than the sum of its parts. Spanning from soulful Latin boogaloo grooves like "Come Candela" to psychedelic jazz renditions of pop hits like the Temptations' "Cloud Nine" to straight-up funk excursions like "Climax," Mongo at Montreux is relentlessly energetic music genetically engineered for dancing - most impressive of all is "Conversation in Drums," a virtual primer in Latin percussion.

Once in a great while, a truly iconic artist emerges — not a commercial fabrication, not a product of marketing, but a rare, genuine voice of deep artistry and technical brilliance. Patricia Moreno is one of those artists.

Rosnes Artfully Reimagines Quintessential Brazilian Songs, Joined by Two of Brazil’s Greatest Artists and Composers, Edu Lobo and Joyce Moreno and also features American and Brazilian Stars, including Maucha Adnet, Chris Potter, Steve Davis, Chico Pinheiro, John Patitucci, Adam Cruz, and Rogério Boccato.

This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.

The mark that the recording of Caravanserai and Love Devotion Surrender had left on Carlos Santana was monumental. The issue of Welcome, the band's fifth album and its first with the new lineup, was a very ambitious affair and was regarded by traditional fans of Santana with even more strangeness than its two predecessors. However, issued as it was at the end of 1973, after Miles had won a Grammy for Bitches Brew and after Weather Report, Return to Forever, and Seventh House had begun to win audiences from the restless pool of rock fans, Santana began to attract the attention of critics as well as jazz fans seeking something outside of the soul-jazz and free jazz realms for sustenance. The vibe that carried over from the previously mentioned two albums plus the addition of vocalist Leon Thomas to the fold added a bluesy, tougher edge to the sound showcased on Caravanserai.

On paper, this unlikely pairing of American popular vocalist Rosemary Clooney (who nearly defined the 1950s as a stylist) and Cuban percussionist and bandleader Pérez Prado seemed to be a disaster in the making. The end result is quite the opposite. Recorded during two sessions in July and August of 1959, this is simply one of the loveliest albums in either artist's catalog. The music is lively and colorful but retains Clooney's smooth and mellow character, and Prado's trademark arrangements and experiments with percussion, texture, and harmony. Apparently, Clooney had some trouble with pronunciation initially, but was coached by her husband, Puerto Rican actor Jose Ferrer (who wrote the original album's liner notes) and became a quick study…