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Ives' Pinao Sonata No 2 orchestrated by Henry Brant.

Tracks by The Howard Alden Trio, The Gene Harris Quartet, The Marian McPartland Trio with Scott Hamilton and Chris Potter.

With Ron Eschete on guitar, Al Grey on trombone, and Gene Harris on piano and Fender Rhodes!

With Jeannie Cheatham on vocals and piano, Jimmy on trombone, Dinky Morris on tenor and baritone, Snooky Young on trumpet, and Curtis Peagler on alto and tenor. Titles include "Permanent Solution", "Daddy O", "Goin Down Slow", "Detour Ahead", and "Homeward Bound".

Solo guitar from Cal Collins!

One of the greatest records we've heard from Al Jarreau in years – a set that features his incredible vocals backed by the Metropol Orkest – a large ensemble who help the legendary singer find a whole new sort of groove! The bold backings are really wonderful – full and flowing, with loads of warm jazz energy that seems to push Al's vocals even more than before – giving them a force that's hardly what you might expect from the aging Jarreau, and really helping to recover that jazzy core that's always made his singing so special. Many of the tunes here are older numbers, but really given an unusual twist in the process – overflowing with a live, ebullient quality that comes through from the very first note. Titles include "Flame", "Agua De Beber", "Cold Duck", "Jacaranda Bougainvillea", "We're In This Love Together", "Midnight Sun", "Something That You Said", "After All", "Spain", and "Scootcha Booty".

A massively expanded package of music – filled with previously unreleased gems! The 2CD set features a landmark collaboration between John Coltrane and Thelonious Monk – two generations of jazz modern, working here to create some really incredible music! The core of this material is from the pair's work issued on the amazing Monk's Music album for Riverside – but the expanded collection also features lots of additional work from the same period too – including some unusual and alternate studio moments too! Other players vary from track to track – and include Gigi Gryce on alto sax, Ray Copeland on trumpet, Coleman Hawkins on additional tenor, Wilbur Ware on bass, and Art Blakey on drums. Titles wonderful versions of "Ruby My Dear", "Trinkle Tinkle", "Nutty", "Well You Needn't", "Crepescule With Nellie" and "Monk's Mood" – plus some alternate versions, false starts, and more – all wrapped up with notes and reflections from original producer Orrin Keepnews.

A bold step forward for drummer Kendrick Scott – a set that bristles with way more sharp changes and soulful undercurrents than any of his previous work – and which almost feels nicely in the same vein as some of the best recent artists to step forth on Blue Note! The record is definitely jazz, but has a lot more going on, too – similar to recent records from Robert Glasper – and in addition to work on drums, Scott also sings a bit, and plays some keyboards – alongside main lines on Fender Rhodes from Taylor Eigisti, whose shimmering style really adds a lot to the set! The group also features tenor and bass clarinet from John Ellis, guitar from Mike Moreno, and bass from Joe Sanders – and Alan Hampton sings lead vocals on a few tracks too. Titles include "Cycling Through Reality", "Be Water", "Apollo", "Serenity", "Memory Of Enchantment", "We Shall By Any Means", and "Liberty Or Death".

Just duets – with Don Thompson on piano and bass, and George Shearing on piano and (surprisingly!) a bit of vocals!

A wonderful record – one you might pass up easily, but not to be missed – as it's one of our straight jazz treasures of the 80s! The album's mostly straight ahead hardbop – recorded with a largeish group that includes Robin Eubanks on trombone, Steve Coleman on saxes, Mulgrew Miller on piano, Ralph Moore on tenor, and Wallce Roney on trumpet. The soulfulness of the players really makes the album sparkle – as all inventively blow around tightly scripted tunes laid down by Smith, driving with the fierceness of some of Art Blakey's best work towards the end of the 60s, recorded here with a lot more energy than the usual Concord session. Titles include "Just Have Fun", "Song Of Joy", "The Creeper", "A Simple Samba Song", and "Love Will Find A Way".

A soaring stormer from the Spanish Harlem Orchestra – a contemporary group, but one who plays with some really classic Latin jazz modes! The group's always been great, but this may well be their best album to date – full of rich tones, bold colors, and tight rhythms that keep things lively throughout – all recorded in a no-nonsense way that reminds us of those excellent Latin jazz sessions we used to love from the Cubop label. Pianist Oscar Hernandez is at the head of a lineup that features two trumpets, two trombones, sax, flute, and plenty of percussion – on cuts that include "Linda", "Nuestra Cancion", "Si Me Quieres Te Quiero", "Son De Corazon", "La Salsa Dura", "La Fiesta Empezo", and "El Negro Tiene Tumbao".

With Tom Harrell on trumpet and Hal Galper on piano!

Art Blakey at the Keystone Korner – really rattling the rafters with a great lineup that includes Bobby Watson on alto sax, David Schnitter on tenor, and Valery Ponomarev on trumpet! Although the Shorter/Morgan lineup is always hailed as one of Blakey's best, we're also pretty partial to this great late 70s stretch of The Jazz Messengers – as it shows some wonderful early flowering of Watson's alto, and his songwriting abilities; Ponomarev's well-blown trumpet lines; and Schnitter's crisp, sharp lines on tenor – always carved out with a great depth of feeling. Add to the mix some great piano from James Williams, and bass from Dennis Irwin, and you've got a great lineup next to Blakey's drums – all working together in a rough-edged, hard soul space on tracks that include "Pamela", "Unlimited", "Dark Side Light Side", "Blues For Two", and "In This Korner".

A wonderful tribute to Dizzy Gillespie – put together by trumpeter Arturo Sandoval – who can not only claim a big influence from Diz, but a number of past musical partnerships as well! The setting is great – not the simple bop mode that you'd usually get from other Diz tributes – and instead, a rich, vivid painting in jazz – full of thoughtful tones and colors that echo the Gillespie tradition, yet flesh things out into a much more vivid portrait of his spirit and soul! There's definitely a few Latin touches in the rhythms at times, mixed with some great larger horn passages that recall some of Dizzy's work with larger orchestras – yet handled here with a complexity that's more in a 21st Century mode. Gary Burton adds some nice vibes to the record – and other players include Bob Mintzer on tenor, Joe DeFrancesco on Hammond, and Shelly Berg on piano. Titles include "And Then She Stopped", "Birk's Works Ala Mancini", "Things To Come", "Con Alma With Soul", "Fiesta Mojo", and "Algu Bueno".

A great step forward for trumpeter Christian Scott – a set that really delivers all the promise we've always seen in his music – and really pushes things into rich new territory too! The title and cover look rootsy, but the rhythms are really futuristic – soaring, spiraling bass, drums, and piano – plus Fender Rhodes too – used in these unbridled ways that are almost to Scott's career what Bitches Brew was to Miles Davis! Yet that's also not to say that this double-length set is any sort of Bitches copycat either – as Scott's inspirations are a lot different, and the tunes are sometimes nicely compact – able to deliver a lot with just a little, all while still setting his horn free much more than before. Titles include "New New Orleans", "Who They Wish I Was", "Spy Boy/Flag Boy", "Dred Scott", "Danzinger", "Jihad Joe", "Cara", "Red Rooster", "Liar Liar", and "I Do".

With Donald Brown on piano, Branford Marsalis on alto, Bill Pierce on tenor, and Wynton Marsalis on trumpet. Titles include "Fuller Love", "In Walked Bud", "Waterfalls", and "A La Mode".

Kurt Elling turns his talents towards the music of the Brill Building – completely transforming a host of pop and soul classics in the process! The songs are familiar, but the music's got all the careful balance of some of Elling's best records in recent years – definitely jazz all the way through, with sparkling arrangements that really work beautifully with Kurt's unique vocals – in ways that push these tunes way past their roots, and show how strongly Elling can bring new feelings out of a song – even with numbers that are much more iconic than his usual fare. Titles include "So Far Away", "Shoppin For Clothes", "A House Is Not A Home", "Pleasant Valley Sunday", "On Broadway", "Come Fly With Me", and "You Send Me".

Long tracks and plenty of room to move around – a perfect setting for the classic sound of the Red Garland Trio on Prestige! Despite the title, the album's not so much groovy as it is lyrically beautiful and filled with sensitivity – a key bridge between piano players of the mainstream in the years before Garland, and some of the bigger, bolder names that would rise up during the 60s soul jazz years. Rhythm is by Paul Chambers on bass and Art Taylor on drums – and the longer tracks give Chambers plenty of room to express his unique talents on the bass. Titles include "Gone Again", "Hey Now", "Will You Still Be Mine", "What Can I Say Dear", and "C-Jam Blues".

The "plus one" on the set is Stanley Turrentine – who really warms up the sound nicely! Titles include "Gene's Lament", "Misty", "Uptown Sop", and "Yours Is My Heart Alone".

Seven track sampler.

One of the greatest records we've heard from Al Jarreau in years – a set that features his incredible vocals backed by the Metropol Orkest – a large ensemble who help the legendary singer find a whole new sort of groove! The bold backings are really wonderful – full and flowing, with loads of warm jazz energy that seems to push Al's vocals even more than before – giving them a force that's hardly what you might expect from the aging Jarreau, and really helping to recover that jazzy core that's always made his singing so special. Many of the tunes here are older numbers, but really given an unusual twist in the process – overflowing with a live, ebullient quality that comes through from the very first note. Titles include "Flame", "Agua De Beber", "Cold Duck", "Jacaranda Bougainvillea", "We're In This Love Together", "Midnight Sun", "Something That You Said", "After All", "Spain", and "Scootcha Booty".

More slickly produced than Tania's earlier albums of bossa jazz from Europe – but a very nice record of mellow fusiony grooves, with some excellent work on the keys from Tania, and her usual bright vocals firmly in place. Jon Lucien guest stars on the track "The Rainbow Of Your Love", which is sort of a snoozer – but there's lots of other nice moments like "Deep Cove View", "Bela Be Bela", "Pour Toi", and the classic "Funky Tamborim".

One of Tania Maria's sweet early LPs for Concord, with a nice modern Brazilian groove that differs from her earlier bossa LPs from the 70's, but which still has a beautiful melodic fusion feel to it. Tania plays piano and keyboards, and she's joined by a smooth Bay Area ensemble that includes Eddie Duran on guitar. With the tracks "2 A.M", "Tranquility", "Eruption", and "Que Vengan Los Toros".

Two generations of Hammond heroes – teaming up here in an old school-styled set! We'll admit that we're a bit more partial to Jack's organ than Joey's, but DeFrancesco's still pretty great – and the pair play together as if on some old twin-Hammond date from the 60s on Prestige (although thinking back, the label really didn't ever cut sessions like that!) Players include Paul Bollenback and John Hart on guitars, Jerry Weldon on tenor, and Andrew Beals on alto – and titles include "Pork Chops & Pasta", "Please Send Me Someone To Love", "Black Jack", "Funk Pie", "Rock Candy", "Yesterdays", and "The Most Beautiful Girl In The World".

Great grooves from Sergio Mendes – a contemporary reworking of his older Brazilian rhythms, very much in the best spirit of his other recent records! There's a warm blend of jazzy instrumentation, Brazilian percussion, and well-crafted beats on the set – all to set the stage for great keyboards from Sergio, and vocals by a host of Brazilian and American talents who include Gracina Leporace, Seu Jorge, Milton Nascimento, Carlinhos Brown, and even Sergio himself! A number of cuts are clever reworks of older classics, taken to dancefloor territory – and titles include "Pais Tropical", "The Real Thing", "Maracatu", "Orpheus", "Ye Me Le", "Caminhos Cruzados", "Emorio", "You & I", and "Caxanga".

Remixed cuts from Sergio Mendes' Bom Tempo album – a record that's already pretty strongly pointed at the dancefloor, making it a perfect fit for a project like this! Many of the tracks here are very heavily remixed – using only key hooks and vocal elements from the originals, much in the style of the Verve Remixed series – although a few of our favorite mixes here keep more of the core flavor intact, or even bring something new and rich to the table. Perhaps the best cut in this way, is the great Nicola Conte Zona Sul Version of "So Tinha De Ser Com Voce" – which is a warm bossa number that could almost come from Conte's own Schema Records. The set also features some remixes of cuts that weren't even on the original Bom Tempo record – and tracks include "Pais Tropical (Roger Sanchez release yourself mix)", "Magalenha (Moto Bianco rmx)", "Orpheus (Funk Generation mix)", "Ye Me Le (Chuckle rmx)", "Maracatu Atomico (Paul Oakenfold club mix)", "You & I (Cutmore rmx)", "Mas Que Nada (Nervo rmx)", and "The Real Thing (Bimbo Jones rmx)".

An all-star effort from Sergio Mendes – one that follows nicely on the comeback energy of his previous Timeless set! Like that one, this album has Mendes dipping heavily into contemporary soul modes – picking up a bit of R&B, bits of hip hop, and bits of a few other styles – then folding them back into music from his Brazilian roots! The blend is almost a 21st Century update of the mix of soul and bossa that Sergio forged in the 70s after his initial Brasil 66 work on these shorts – and the balance struck here is surprisingly strong – possibly even better than the sound of Timeless. Guests include Will I Am, Siedah Garrett, Ledisi, Carlinhos Brown, Vanessa Da Mata, Gracinha Leporace, Natalie Cole, and Lani Hall – and titles include "Catavento", "Morning In Rio", "The Look Of Love", "Dreamer", "Lugar Comum", "Odo-Ya", "Waters Of March", and "Funky Bahia".

Excellent work from Marcus Miller – the kind of soul-drenched, bass-led set that's made him a favorite for years! There's a tightness here that almost takes us back to the feel of a Stanley Clarke set from the 70s – a right on the money groove you'll hear right from the start – with more than enough bite in the basslines, and a sound that's never too smooth to make the album lose its groove. The set features guest work from Sean Jones on trumpet – plus a bit of vocals from Dr John, Gretchen Parlatto, and Ruben Blades – but overall, Miller's clearly the star attraction here, as you'll hear on cuts that include "Detroit", "Redemption", "Slippin Into Darkness", "Jekyll & Hude", "Revelation", and a great cover of Weldon Irvine's "Mr Clean".

Monk doing his thing at the '64 Monterey Jazz Festival – backed by his core group of Charlie Rouse on tenor, Steve Swallow on bass and Ben Riley on drums – plus additional backing by the Monterey Workshop crew on a couple – a recording released now for the first time ever! Monk's playing here with space and nuance, but still kicks up the energy in spots – incorporating the accompanying players on the closing 2 tracks – which included Buddy Collette on sax & flute, Lou Blackburn on trombone, Jack Nimitz on baritone, and Bobby Bryant & Melvin more on trumpets. The takes all run north of 8 minutes, and titles include "Blue Monk", "Evidence", "Bright Mississippi", "Rhythm-A-Ning", plus "Think Of One" and the immortal "Straight No Chaser" – fleshed out with the bigger band!

Late 80s Latin from Mongo Santamaria – but still pretty darn nice! The set's got Santamaria stretching out in the rhythms a bit more from the early days – and also picking up some of the jazz flavors of the Concord label as well – but overall, the proceedings are still quite tight, thanks to arrangements from maestro Marty Sheller! The group's not too large, and features alto and flute from Bobby Porcelli, trumpet from Ray Vega, and tenor and flute from Mitch Frohman – all players who bring some nice solos to the set. Titles include "Soca Me Nice", "Day Tripper", "Tropical Breeze", "Kathy's Waltz", "Cubop Alert", and "Con Mi Ritmo".

A warm, wonderful set by Sarah Vaughan – and a later one, closing the Monterey Jazz Festival in 1971 – released for the first time ever! Sarah is backed for most of the set by the trio of Billy Mays on piano, Bob Magnusson on bass and Jimmy Cobb on drums – with Sarah managing to both portray heavy emotion and mood and also an easygoing, playful charm – joking with the audience and obviously having a wonderful time. Very nice! Includes the Norman Granz intro, plus "I Remember You", "The Lamp Is Low", "'Round Midnight", "There Will Never Be Another You", "And I Love Him", "Scattin' The Blues", and "Tenderly" – plus a 14 plus minute jam with the Jazz At The Philharmonic All-Stars – Bill Harris, Roy Eldridge, Clark Terry, Eddie Lockjaw Davis, Benny Carter and others!

A relatively recent set from Patti Austin, but a great one too – an album that has her working in warmly jazzy arrangements that are much more restrained than her soul work of a few years before! There's a relaxed, easygoing feel to the set – one that's somewhat smooth, as you might expect from Austin, but in a way that's a bit more indie than commercial – most likely due to the Concord Records approach. Most numbers have keyboards alongside the vocals, but these are kept to the warmer side of the spectrum, and never overwhelm Patti's vocals too much. Arrangements are by Narada Michael Walden and Louis Kingpin Biancaniello – and titles include "Do Si Doe In", "In & Out Of Love", "Don't Go Away", "Totally Unacceptable", "Once In A Lifetime", and "I Will Be There".

A nice set by Diz at the 1965 Monterey Jazz Festival – backed by a great group of players – released here for the first time ever! The set opens with a fiery day after, and the set takes some equally hard charging turns plus some relaxed moments, too – and includes some surprises, too. Big Black is killing it on congas for this set – and the other players include James Moody on flute and tenor, Kenny Barron on piano, Christopher White on bass and Rudy Collins on drums. Other titles include "Trinidad, Goodbye", "Poor Joe", "Night In Tunisia", "Ungawa" and "Gega De Saudade (No More Blues)", plus a fun comedy sketch in the middle.

A very nice set of mellow west coast Latin vibes from Cal – sort of an updating of his classic 50s San Francisco groove on Fantasy, done with a host of California players that includes Roger Glenn, Poncho Sanchez, and Gary Foster. The record features a remake of Cal's big hit from the 60s – "Guachi Guaro (Soul Sauce)" – plus the tracks "Doxy", "Cuban Fantasy", "Good Vibes", and "Shoshana".

Poncho Sanchez always cooks strongly – one of the best congoleros in Latin music for the past few decades – but his sound is even sharper on a live set like this! The album stands head and shoulders with any of Poncho's best records from previous years – a really classic-styled performance with tight, jazzy performances from all members of the group – and a spontaneous sort of sound that really keeps things interesting! Poncho's on congas and other percussion – and the group also features trombone, trumpet, alto, tenor, flute, piano, organ, timbales, and percussion – on a set that's mostly instrumental overall. Titles include "A Ti Nama", "Mambo Inn/On Green Dolphin Street", "Promenade", "Poncho Sanchez Medley", "Son Son Charari", "Afro Blue", and "Morning".

A set that definitely moves along the Soul Route promised in the title – thanks to great vibes from Milt Jackson, and a mix of electric and acoustic piano from Gene Harris! Harris here has none of the hoke of some of his Concord sides – and instead, slides in alongside Jackson to give him some of his most soulful backing of the Pablo years – all with a sound that's almost more mid 70s soul jazz than you'd guess from the date of the record! Other players include Ray Brown on bass and Mickey Roker on drums – and titles include "Soul Route", "Blues For Gene", "Sittin In The Sandtrap", and "Ne-Afterglow".

A lively set of west coast Latin from Pete Escovedo – recorded for Concord's Crossover subsidiary, with a sound that mixes electric fusion and acoustic jamming! The feel here is a bit more 80s than some of Escovedo's earliest albums – especially in its use of keyboards – but the overall power of the tunes is quite high, and the rhythmic undercurrent and spontaneous live setting more than get past the dated quality of a few of the instruments on the set. Players include Dave Matthews on keyboards, Ray Obiedo on guitar, and Sheila E on a big of guest percussion – and titles include "Modern Dance", "Charango Sunrise", "Zina's Zamba", and "Revolt".

A real classic – one of Tania Maria's greatest American albums, and a sublime blend of styles that shows that her move to the US was not in vein! The group's an easy going west coast Latin ensemble with Eddie Duran on guitar, and the style is a breezy Brazilian one – perfectly situated on the bay shores of the Concord scene, with a nice modern grooving style. Includes the classic "Come With Me", plus "Lost In Amazonia", "Sangria", "Nega", and "Sementes, Graines & Seeds".

Even at this early point in their career, the Modern Jazz Quartet were plenty proud of their relation to and reception in Paris – almost rubbing their international fame in the faces of other American combos with the title and cover of this record! The set's still got the quartet at their crisp early best – before any of the sometimes too academic or too serious tones of later sides – and tracks are mostly shortish, ringing out with especially nice vibes from Milt Jackson. Titles include an early reading of the title cut "Concorde", plus an extended "Gershwin Medley", and the tracks "All Of You", "I'll Remember April", "Softly As In A Morning Sunrise", and "Ralph's New Blues".

Even at this early point in their career, the Modern Jazz Quartet were plenty proud of their relation to and reception in Paris – almost rubbing their international fame in the faces of other American combos with the title and cover of this record! The set's still got the quartet at their crisp early best – before any of the sometimes too academic or too serious tones of later sides – and tracks are mostly shortish, ringing out with especially nice vibes from Milt Jackson. Titles include an early reading of the title cut "Concorde", plus an extended "Gershwin Medley", and the tracks "All Of You", "I'll Remember April", "Softly As In A Morning Sunrise", and "Ralph's New Blues".

A beautiful follow-up to the Snowing On My Piano album from pianist Bugge Wesseltoft and violinist Henning Kraggerud – and a really unique little album that strongly echoes some of Bugge's own solo work in recent years! Wesseltoft has really developed an even stronger sense of space as he's matured – and has this uncanny ability to use just a few notes, often very gently, and sometimes in halting ways – but all with the punch of a player who'd throw in a few dozen more notes in the same musical space – an incredibly quality that we've really come to admire in his playing, and which almost echoes some of the work of Satie or Gurdjieff – but with a more jazz-based approach. Kraggerud plays violin, viola, and viola concorda on the set – but often seems to move from Bugge's lead inspiration – creating some deeper colors with his own sustained notes. Tunes are all based around traditional themes, but really opened up in different ways – and titles include "Hei Hu", "Last Spring", "Byssan Lull", "Den Fyrste Song", "Blamann", "Om Kvelden", and "Wiegenlied".

Breathtaking 60s pop, soul & rock tunes penned by Jackie DeShannon – a wide range of glorious singles from Irma Thomas, The Fleetwoods, Helen Shapiro, Barbara Lewis, Duane Eddy, The Concords, The Byrds, Peggy March and many more! Jackie's is an amazing story – starting out as a TV friendly hillbilly & rockabilly pop singer in the late 50s, and going on the be a hugely successful songwriter in the 60s for a wildly diverse pool of singers – from folk pop, to stomping pulpy rock of the Lee Hazlewood and Jack Nitzsche school (the latter a frequent collaborator), to r&b fueled vocal tunes, Jackie wrote all kinds of great stuff, and kept recording to boot. This set couldn't be more appealing, and it's a lovely tribute to a great talent! 27 tracks: the fiery "Break-A-Way" by Irma Thomas, "Woe Is Me" by Helen Shapiro, "Guitar Child" by Duane Eddy & The Rebelettes, "Thank You Darlin'" by Rick Nelson, "Don't Doubt Yourself Babe" by The Byrds, "Stop That Girl" by Barbara Lewis, "I Remember The Girl" by The Bandits, "Only You Can Free My Mind" (previously unreleased demo) by Jackie DeShannon and much more.

A sweet little selection of grooves from the folks at Pulp Flavor Records! The label's best known to our customers for their great reissues of French groove obscurities from the 60s and 70s – but this selection features work by a number of newer artists involved with the label, interspersed by a few other older tunes pulled from sound library records. The overall feel is perfect – slightly Latin, slightly easy, slightly soundtracky – with a timeless quality that really blows away most American attempts at this sort of title. Tracks include "Dynamoog" by Jean Jacques Perry, "Vibra D'Electrique" by Apine, "Bagheera" by Nino Nardini & Roger Roger, "Freejazz Box" by Undress Code, "To The Bass" by Zimpala, "It's A Boy" by Ama D Us, "Epoch Making Sense" by Kan Takagi, and "Deja Mort" by Concorde Music Club.

Although this one's not from Gabor's classic period on the Skye label, it does have a nice R&B fusion sound to it, and was recorded at Sigma Studios in Philly. Bunny Sigler produced, and he gives the set a 70's soul sort of sound, but Gabor's cool guitar is still out front, and keeps the tracks sharp, in a sort of pop fusion way. Cuts include the spacey "Concorde (Night Flight)", plus "Babby Rattle Snake", "Smooth Sailin", and "Keep Smilin".

A cool early 70s psych folk set from Peruvian combo El Polen – the group's second album – and it's a great one! For a group that's utilizing acoustic instrumentation so heavily, this is really atmospheric stuff – lots of buzzing guitars, earthy percussion, violin, harp and flute. There's a bit of a nature vibe at play, too – and it's really evocative stuff! There's some strong group vocals, but also some long instrumental passages. This CD edition from Lion and Repsychled includes a bonus track with vocals by Susana Baca – "Ahijada De la Luna" – plus "Concordancia", "Mi Cueva", "A Las Orillas Del Vilcanota", "El Hijo Del Sol", "La Puna" and a live version of "Valicha".