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Beastly salsa from Orquesta El Macabeo – a record that bursts out with power right from the start – soaring forth at a level that almost knocks out most classic salsa records we can think of! This youthful group just keeps getting better and better with each new release – and this set is definitely the greatest they've given us to date – a non-stop burst of musical creativity all the way through – put together with all the raw energy and jazzy spontaneity that so few groups can get this right these days. The vocals carry a lot of punch, too – and really send the whole thing home nicely – on titles that include "El Sueno", "La Dieta", "Swing", "Alacran", "La Noche", "La Conga", and "Lluvia Con Sol".

Beastly salsa from Orquesta El Macabeo – a record that bursts out with power right from the start – soaring forth at a level that almost knocks out most classic salsa records we can think of! This youthful group just keeps getting better and better with each new release – and this set is definitely the greatest they've given us to date – a non-stop burst of musical creativity all the way through – put together with all the raw energy and jazzy spontaneity that so few groups can get this right these days. The vocals carry a lot of punch, too – and really send the whole thing home nicely – on titles that include "El Sueno", "La Dieta", "Swing", "Alacran", "La Noche", "La Conga", and "Lluvia Con Sol".

With vocals by Rafael De Jesus, and trumpet and flute from Luiz Perico Ortiz!

One of Eddie Palmieri's greatest albums – and certainly one of the most mindblowingly creative! The album encompasses all the grooves stated in the title, and then some – as Eddie works with a mix of acoustic and electric instruments, crafting tunes that are long and exploratory, tightly jazzy but also free, and with more than a bit of funk in the mix on the best numbers. And far from confusing, the whole thing comes together with a really cohesive sound – the kind of broad vision in one fell stroke that only Palmieri could pull off! Titles include "Cobarde", "Chocolate Ice Cream", "The Mod Scene", "Random Thoughts", "Resemblance", and "Condiciones Que Existen".

Joyous grooves from congolero Johnny Ray – a contemporary set of salsa tracks, put together with a mix of keyboards and acoustic instrumentation at the core! Ray's conga's lost none of its edge over the years, and helps direct the group with a nice rootsy vibe – even amidst the more modern keyboards – and singers in the group include Jose Davila and Sammy Gonzalez Jr. Titles include "Si No Soy Yo", "Estoy Amandote", "Te Quiero Un Monton", and "Ganas De Ti".

70s salsa, but with a bit of a nod to the clubs – sort of the same mode the Fania All-Stars were hitting on their Columbia albums of the latter part of the decade, but a bit looser overall! From the cover, you might expect there to be a few Latin Hustle elements on the set – but the record's more salsa than disco, with mostly acoustic instrumentation that features tight percussion driving on a well-crafted horn section that features sax, flute, trumpets, trombone, and even a bit of tuba – which makes for a nice bottom. Vocals are by Lucas Clemente and Dino Guy – and the group's directed by Gunda Merced, who plays some great trombone lines on the record. Titles include "Mulata", "No Hay Vuleta Atras", "Salsa Explosion", "Sabroso", "Aquella Nina", and "Dicen".

Incredible third coast salsa from the late 70s – amazing stuff from the orquestras of Carlos Ruiz and his Ebirac label – made by singers and players in Chicago's Puerto Rican community of the period that stands up just as well today! Chicago salsa, unlike more nationally popular styles, was rooted in the city's rich Puerto Rican community. They cover material adapted from traditionals and more, done with less pan-Caribbean derived sounds than the Cuban-rooted salseros of NYC and Miami. As fondly remembered as the players of the Chicago salsa scene are by the older Puerto Rican community, records by Orquestas La Justicia, La Solucion, Juventad Tipica '78, Tipica Leal '79 and others are terribly hard to find. Not only has Numero managed to compile a terrific batch of songs, the sound quality is impeccable, too! Titles include "Plena Matrimonial" by Ebirac All-Stars featuring La Calandria & Ramito, "Stone Flower", "Alegre Jibarito", "Guaguanco Coroco" and more by La Justicia, "Afro Theme" and "Ano Nuevo Y Reyes" by Juventud Tipica '78, "A Bailar Son Montuno", "El Gordo Y El Flaco" and "Mini Minoso" by La Solucion, "Mozambique" by La Solucion featuring Mongo Santamaria, "Donde Estabas" by Tipica Leal '79 and more, plus the bonus "Ebirac Radio Spot". The booklet is lavish, too – full of notes and photos that that make it all the more revelatory – providing a historical perspective that can't be overpraised!

A beautiful collection of heavy grooves from Panama and Colombia – all put together by an artist we definitely trust when it comes to all things funky! Quantic's been spending plenty of time down near the equator in recent years – turning his initial funky ear to more Latin-styled rhythms – but always with the same hard and heavy feel of his best American-styled grooves! There's a massive blend of northern funk and equatorial rhythms here – really unique little tunes that are bound to please the ear of anyone who digs a collection of funky 45s – yet with styles that are more than complicated enough to also set fire to a lover of global grooves too! The package may well be the best so far in Nascente's Experience collection – and titles include "Getting It Together" by Mauricio Smith, "El Lobo" by Wganda Kenya, "Soul Cucaracha" by The Soul Fantastics, "Full Salsa (excerpt)" by Fruko, "Bayesa" by Wganda Kenya, "Hiko Iko" by Little Grancisco Greaves, "Puyalo Ahi" by Pedro Beltran, "Caracuche Che Che" by Los Autenticos De Garmo, and "Palo Bonito" by Pedro Beltran.

A pretty great idea, with really wonderful results – a Latin jazz tribute to Frank Sinatra, inspired by an ill-fated 60s Latin session that Sinatra never recorded! The album's of recent vintage, but it's got a really classic feel – and a great blend of Latin rhythms and Sinatra-styled vocals – sung with a bit more wobble than Frank might have brought to the date, but that's part of the charm! The tunes are mostly numbers associated with Sinatra, but there's a few other more Latin numbers too – arranged by Ray Santos and Paquito Pastor, and played by a group that features Edy Martinez on piano, Bobby Nelson on alto sax, Mario Rivera on tenor, and Dave Valentin on flute. Titles include "I've Got You Under My Skin", "I Get A Kick Out Of You", "Guaguaco For J-Lo", "The Rumba Dancer", "All Of Me", "Without A Song", "Fly Me To The Moon", and "New York New York".

Incredible third coast salsa from the late 70s – amazing stuff from the orquestras of Carlos Ruiz and his Ebirac label – made by singers and players in Chicago's Puerto Rican community of the period that stands up just as well today! Chicago salsa, unlike more nationally popular styles, was rooted in the city's rich Puerto Rican community. They cover material adapted from traditionals and more, done with less pan-Caribbean derived sounds than the Cuban-rooted salseros of NYC and Miami. As fondly remembered as the players of the Chicago salsa scene are by the older Puerto Rican community, records by Orquestas La Justicia, La Solucion, Juventad Tipica '78, Tipica Leal '79 and others are terribly hard to find. Not only has Numero managed to compile a terrific batch of songs, the sound quality is impeccable, too! Titles include "Plena Matrimonial" by Ebirac All-Stars featuring La Calandria & Ramito, "Stone Flower", "Alegre Jibarito", "Guaguanco Coroco" and more by La Justicia, "Afro Theme" and "Ano Nuevo Y Reyes" by Juventud Tipica '78, "A Bailar Son Montuno", "El Gordo Y El Flaco" and "Mini Minoso" by La Solucion, "Mozambique" by La Solucion featuring Mongo Santamaria, "Donde Estabas" by Tipica Leal '79 and more, plus the bonus "Ebirac Radio Spot". The booklet is lavish, too – full of notes and photos that that make it all the more revelatory – providing a historical perspective that can't be overpraised!

Two great slices of work from Johnny Ray – one a salsa set from the 70s, the other a batch of boogaloo tunes from the 60s! The first 5 tracks here are from a studio set directed by Charlie Palmieri, and done in the best New York salsa mode of the time – with vocals from Yayo El Indio and Adalberto Santiago, and other players who include Barry Rogers on trombone, Ray Maldonado on trumpet, and Manny Corchado on timbales – all grooving tightly in soaring, soulful formation on tracks that include "La Guerra", "Oye Nicola", "Que Risa Me Da", "Descarga No 2", and "Descarga El Tres". The second half of the CD features some real killers from Johnny's boogaloo years as Johnny Zamot – tracks from his Decca albums and other indie sides that bristle with tight, jazzy energy! Tracks include 3 great Pat Patrick compositions – "Catfish Bag", "Gaboom", and "Mambo Village" – plus "Descarga Zamot", "Guadajaljara", "Alma Llanera", and "Kool & The Gang".

Tracks by Tito P{uente, Celia Cruz, Beny More & others.

A lost Latin cooker from Alfredito Linares – recorded in Peru during the early 70s, but with a vibe that's right up there with the best New York albums from the Latin Soul scene of the late 60s! Like other South American sets from the time, this one holds onto a groove that American Latin acts had already discarded – a tight mix of boogaloo and other soulful styles that are very heavy on the rhythms – played by a small combo with a joyous, energetic vibe! There's loads of dark piano lines dipping and turning alongside the rhythms – really giving the record a sinister undercurrent – and the horn parts are tight, but never dominate too much – leaving room for the Spanish language vocals over the top. Titles include "Boogaloo Girl", "Guaguanco En Onda", "Recuerdame", "Pa Juga Nama", "A Los Timbaleros", "La Salsa Va A Comenzar", and "Macchu Picchu". CD also features 2 bonus cuts – "Yo No Soy Guapo" and "Sujetate La Lengua".

An obscure post-Cotique album from the great Joey Pastrana – one that shows an even stronger groove than his last years at his former label! The set was produced by Larry Harlow, and it's got a depth that's really wonderful – a complex approach to the arrangements on many numbers, and a wider-ranging sound than we might have expected from Joey a few years before – clearly part of the global Latin focus that he and other New York artists were picking up on during the 70s. The horn parts are especially great – really soaring out with a sense of warm on most numbers – and arrangements are by Mauricio Smith, Sonny Bravo, and Marty Sheller. The record's also got some great 70s Latin Soul numbers – like the saxophone-heavy "Dance Donna Dance", and the soulful "Tight & Loose" – plus the more club-sounding title "Until The Real Thing". Other tracks include "Gonna Cry", "Chico East", "Pensamiento", and "Monte Pastrana".

Contemporary work from Johnny Ray – aka Johnny Zamot – a set of salsa-heavy tunes that also aims to cross over nicely – thanks to its choice of popular tunes, and its slight use of electric instrumentation! Johnny's group here salsifies a batch of numbers from the 70s and 80s – taking familiar Anglo tunes, and giving them a nice dose of Latin rhythms and instrumentation – yet often still keeping the lyrics upfront, in English. Sammy Gonzalez sings lead, and titles include "Suavecito", "Hot Hot Hot", "Lady", "You'll Never Find", "Besame", "Always & Forever", "Endless Love", and "You're My Everything".

Johnny Ray's combo is cooking nicely on this set – steeped in Puerto Rican salsa sounds, but carrying off the music with lightly grooving quality! The instrumentation here includes trumpet, trombone, piano, and percussion – plus a bit of more contemporary keyboards on a few tracks, but not too much to keep the music from sounding too classic. One title is a bit of a reggaeton number, but the rest are older styled salsa, with vocals by Jose Davila and Sammy Gonzalez – and titles inclu de "Preciosa", "Lejos De Ti", "Jibarito Mio", "Sonando Con Puerto Rico", "Amanecer", "La Parranda", and "Aunque Me Llore".

Smoking salsa from the legendary Fania Records – a hip batch of numbers that focuses on the groundbreaking sounds of the New York Latin scene in the 70s! The track selection here is pretty classic, but that's ok with us – given the strength of the grooves – and there's also a nice touch of Latin Soul at times, showing the full range of the Fania sound. Titles include "A Mi Nena" by Rafi Val & La Differente, "Che Che Cole" by Willie Colon, "El Todopodoeroso" by Hector Lavoe, "O Mi Shango" by Mongo Santamaria, "Pachito Eche" by Tito Puente & Celia Cruz, "Tu Lo Sientes" by Joe Cuba, "Cucala" by Celia Cruz & Johnny Pacheco, "Brother Where Are You" by Ralfi Pagan, "Bilongo" by Eddie Palmieri, "Guaguanco Arsenio" by Tito Puente & Azuquita, "El Nuevo Barretto" by Ray Barretto, and "Ahora Es El Tiempo" by Louie Ramirez.

A heavy-hitting batch of salsa from the legendary Fania Records catalog – and a collection that's almost more on fire than the first volume in the series! As before, the tracks here showcase the best sounds of New York's glory days for Latin music – that point in the 70s when the scene was exploding anew with a fresh sense of power and pride – and really hitting the best elements of the groove that was starting to be known as salsa! The package digs a bit deeper than before, and features some great lesser-known gems – and like other titles from the revived Fania, the packaging and presentation is superb. Titles include "El Remolon" by Cabrerita, "Timbalero Mayor" by Menique, "Payaso" by La Muralla, "Resignacion" by Gilberto Cruz, "Don Anastacio" by Javier Vazquez, "Arenque" by Alfredo Vargas, "Nosotros" by Monguito Santamaria, "Catano" by Justo Betancourt, "La Fiera" by Kako & Azuquita, and "Dejame En Paz" by Johnny Colon.

A tasty bit of salsa with a modern charanga twist – a groove that's a fair bit like Tipica 73 at times, but a bit less standard! La Sensual really have a playful sense to their music – one that lets the mix of violin, flute, and piano leap around creatively – sometimes following the rhythms, sometimes moving into spaces that are a bit more offbeat, and which make the record a real standout. The set features vocals by leader Orlando Aviles, plus violin by Jose Chombo Silva, piano by Hector Leguillow, and additional vocals by Mike Rodriguez. The violin snakes in and out of the groove with a sharp 60s-inspired sound – and titles include "Teresa", "Tengo Frio", "Lo Que Traigo Es Salsa", "Camarones Y Mamoncillos", and "Tu Sensualidad".

Not just 70s New York salsa, but a range of different styles – all packaged together with a focus that's mostly aimed at the Latin dancefloor ! Most of the work here is still relatively rootsy – pulled from the Salsa International/Mary Lou Records catalog – with a sound that's got a bit more grit than contemporaneous work from labels like Fania or Vaya. But that doesn't stop the music from being great – and the racks here really roll out with a very vibrant feel throughout! Titles include "I Regret" by Orchestra Capri, "Aprendelo Como Yo" by Bobby Quesada, "Puerto Rico Guaguanco" by Orchestra Tentacion, "Descarga 72" by Willie Rodriguez, "Salsa Tropical" by Orchestra Capri, "A La Memoria Del Muerto" by Dominica, "Sono Mi Guaguanco" by Raphie Martiniez, "Los Que Lloran Son Los Ninos" by Willie Rodriguez, and "Something Right" by Cucaracha Brass.

A smokin bit of salsa from 70s Brooklyn – one of a rare few albums cut by The Brooklyn Sounds, a totally great group with a really firey spirit! The set grooves hard from the first moment – with tight horn blasts over fast rhythm, and soulful vocals that really capture the spirit of the time. Lyrics are in Spanish, but the appeal of the grooves is international – and caught at that perfect moment when 60s Latin soul was giving way to 70s salsa – with all the youthful energy of both genres firmly in place. Titles include "Calma Tu Llanto", "Las Margaritas", "Guaguanco Tropical", "Libre Soy", "Chango Santero", and "Esta Vida".

A 70s group, but one with a relatively traditional feel – a groove that definitely lives up to the charanga in their name, but which also features a bit more horns over the top! The mighty Art Webb is in the combo on flute – playing with that same sharp-edged, soulful sound that graced some excellent Latin sessions in the 70s – and other members of the group include Hector Leguillow on piano, Jose Medina on violin, Felix Vega on trumpet, and Pablo Guzman on bass. Vocals are from Miguel Rodriguez, Orlando Aviles, and Felo Barrio – and titles include "Maria Elena", "Ya Pa'Que", "Mi Tocallo", "Ya Es Muy Tarde", "Sandra", and "Nunca Vencido".

12" single version of his big Latin disco hit from the mid 70's, with an 8 minute and 6 minute version of the track. Jimmy's voice is beautiful, as always, and his vocals shine out amidst the heavier disco arrangements of the track.

A great little set from salsa legend Sammy Ayala – an original member of the 50s born Cortijo Y Su Combo orchestra of Puerto Rico – singing warmly and wonderfully on this excellent self-titled set on the Candela label! An all star roster of modern producers and players indebted to Sammy and his style contribute – include Quantic, Nicodemus, Truth & Soul combo Bronx River Parkway, Mo'Horizons and others – but this feels like the work of an old school master, as it should. Timeless stuff and a worthy effort by all! Titles include "Otra Vez", "Invitacion Al Salon", "Corazon" feat Bronx River Parkway, "El La San Sebastian" feat Mo'Horizons, "Huellas De La Ilusion" and more.

An early 70s killer from Ray – recorded right in the same era as most of his best albums! The feel here is strongly in the salsa mode – as Ray steps effortlessly from the Latin Soul era into a whole new decade of musical magic. And like the best of his 60s work, Ray's salsa cooks at a level that's far hotter than most of his contemporaries – with lots and lots of incredibly tight percussion, impeccable instrumentation, and even a more soulful approach to the vocals than usual. The album's got a short Latin soul groover called "Together", which has tight bass and a very catchy lyric; an extended Latin jazz version of "Tin Tin Deo", with some incredible piano that goes way way out over the groove; and plenty of other great Latin numbers, like "Invitacion Al Son", "Vive Y Vacila", "De Donde Vengo", and "Hipocresia y Falsedad".

A really top-shelf album from Justo Betancourt – a perfect illustration of the power of his vocals at their height! The set's got a really classic 70s salsa feel – a horn-heavy groove that almost effortlessly flows from a combo of strong players, topped by majestic vocals from Justo – stretching out soulfully with these wonderful inflections, timings, and turns that go far beyond the simple lyrics of the tunes. The record's almost a casebook study in the way that the Fania singers of the 70s could be completely expressive without resorting to any sort of over-emotive cliches – a new level of Latin masculinity in song, served up here with impeccable arrangements by Javier Vazquez. Titles include "Pa Bravo Yo", "Psicologia", "Oyeme Cantar", "Guaguanco Ta Moderno", "Adios Felicidad", "Catano", and "Una Audiencia Muerta".

Far reaching modern salsa and Latin grooves from Bio Ritmo – perhaps their best stuff yet! The group has been impressive all along, but they've progressively gotten better and better, really developing into one of the most exciting and least pigeonhole-able modern groups out there. The diverse elements flow naturally, which is really not an easy thing to pull off for a group that clearly cherishes Latin and Latin-American musical forbears very deeply. They brilliantly blend 70s salsa and Latin funk with a heavy, raw rhythmic and percussive underbelly, impassioned lead and group vocals, terse brass blasts, weird bits of keyboards and other unpredictable touches that firmly root them in the here and now. Titles include "La Verdad", "Dina's Mambo", "La Muralla", "Carnaval", "Majadero", "Verguenza", "Caravana Del Vejigante" and "Lola's Dilemma".

Ruben Blades's first album – recorded shortly after his arrival in New York from Panama, with top-notch backing by the band of Pete Rodriguez! The album's an interesting one, in that it catches Ruben shortly before the salsa era, singing in a mix of styles that reminds us of some of Jimmy Sabater's work with Joe Cuba's group – doing mid and uptempo numbers in Spanish, and laying down a few mellower moments with the occasional English vocal! The style's not entirely Latin Soul, but not far off either – and the work is a nice contrast to the later work of Ruben. Titles include the lively groover "Descarga Caliente", the soulful "When", and the cuts "El Bravo", "De Panama A New York", "Donde", and "Hey Man".

Classic work from Willie Colon – the "payoff" of his youthful hoodlum routine, and a hard-hitting batch of salsa tunes pulled from earlier records – all in a package that defines his groove of the 70s! Hector LaVoe's on vocals with Willie's group – and he's also standing with Willie on the cover, a nice image that has the two of them dressed as big-time gangsters, standing next to a Rolls Royce! (Wonder what it cost them to rent that for the cover shoot?) But more important than Willie's perpetuation of himself as the bad boy of Latin music, is the overall sound of the record – fierce salsa, with a really strong approach that's as bold and proud as the image which supports it. Solid all the way through, and tracks include "El Malo", "Jazzy", "El Titan", and "Che Che Cole", a nice groover.

A roots-oriented 70s classic from Willie Colon – one of his standout albums of the decade! Willie continues his "life of crime" approach for the early 70s – moving into an old west look on the cover, and matching that with a slightly rootsier sound on the album! The real difference is the presence of Yomo Toro – who plays cuatro on the album, and gives it a sound that stretches back to earlier Afro-Cuban styles – a groove that's a lot more rootsy, mixed in with the soaring salsa style of Colon in the 70s. Lead vocals are by Willie, Hector Lavoe, and Ruben Blades – and arrangements are by Marty Sheller and Willie. Tracks include "Toma", "Dona Tona", "Potpourri III", "Cua Cua Ra, Cua Cua", "I Feel Campesino", and "Que Bien Te Ves".

A roots-oriented 70s classic from Willie Colon – one of his standout albums of the decade! Willie continues his "life of crime" approach for the early 70s – moving into an old west look on the cover, and matching that with a slightly rootsier sound on the album! The real difference is the presence of Yomo Toro – who plays cuatro on the album, and gives it a sound that stretches back to earlier Afro-Cuban styles – a groove that's a lot more rootsy, mixed in with the soaring salsa style of Colon in the 70s. Lead vocals are by Willie, Hector Lavoe, and Ruben Blades – and arrangements are by Marty Sheller and Willie. Tracks include "Toma", "Dona Tona", "Potpourri III", "Cua Cua Ra, Cua Cua", "I Feel Campesino", and "Que Bien Te Ves".

Wild early work from Willie Colon – a record that's equally poised between the Latin Soul and later salsa era, and which features great lead vocals from Hector Lavoe! The album's got some very strong tracks that percolate in Willie's dark trombone-led groove – like the mighty 7 minute "No Me Den Candela", which steps about majestically in a slow and soulful groove; or the great instrumental cut "I Wish I Had a Watermelon", a nice mini-descarga with some really great piano! Other tracks include "El Titan", "Oiga Senor", "Guisando", and "Te Estan Buscando". Great stuff all around!

One of the last classic efforts from the team of Willie Colon and Ruben Blades – a subtle but effective set of tracks that showcases both Blades' increasingly political concerns and the growing pan-Latin sound of Colon! The core approach is still mostly salsa, but you can hear plenty of other influences in the mix as well – all carried out with a sound that's simpler, and almost rootsier than some of Colon or Blades' more high-concept records at the end of the 70s. Tracks are all longish, with some good instrumental moments, and titles include "Tiburon", "Te Estan Buscando", "El Telefonito", "Y Deja", "Ligia Elena", "De Que", and "Madame Kalalu".

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

An obscure but excellent session – recorded at the end of the 70s with some of the best players in the New York salsa underground! The music is extremely vibrant – and the styles of the tracks range from hard Afro-Cuban percussion grooving to tight Latin jazz in a classic mode – with instrumentation that ranges from pachanga-styled flute and violin, to some harder-jamming grooves with a lot more piano in the lead. Production has that raw, but clear sound that we love so much in the Latin Percussion albums of the time – a groove that's very different than that of Fania or Tico – and Sonny Bravo plays piano, Rene Lopez is on trumpet, Nicky Marrera is on timbales, Dick Meza plays flute, Eddie Montalvo plays conga, and Mario Rivera is on saxes. Includes great Latin Jazz versions of "Tune Up", "Manteca", and "April In Paris" – plus "Jo Ca Nic", "Son De La Loma", and "Konkoina".

Loads of salsa classics from this great bassist – including "Chipi Chipi", "Sun Sun Babae", "El Frutero", "Ven Morena", "Para Chango", "Monta Mi Caballo", and "El Manicero".

A great little back to basics effort from the Fania All Stars – one that shakes off some of the electric and clubby influences that were creeping in during their years at Columbia, and returns the group to a mostly salsa groove! The sound here is bold and bright throughout – traditional at one level, but colored with modern inflections and a deepening sense of sophistication that may well make it one of the group's most cohesive records ever! Members of the ensemble include Roberto Roena, Johnny Pacheco, Luie Ramirez, and Papo Lucca – and vocals are by Celia Cruz, Adalberto Santiago, Ruben Blades, Santos Colon, Hector Lavoe, and Cheo Feliciano. Titles include "Dinamita", "Dime", "Ublabadu", "Cuando Despiertes", "La Borinquena", and "Encantigo".

One of the proudest moments of the New York Latin underground – a time when some of its best players wound up playing for Columbia, through a brief affiliation between Fania and the larger label! And although you might think that the album would totally sell out the group's best points, it's actually a great batch of cuts that mixes the All-Stars' strong salsa and jazz grooves with some nice club-oriented rhythms – a blend that was perfect to show the growing sophistication of the Nuyorican scene in the late 70s! All the right touches are still strongly in place – and the record features work from Pacheco, Roberto Roena, Mongo Santamaria, and Louie Ramirez, as well as guests Bob James and Eric Gale. Titles include "En Orbita", "Awake", "Juan Pachanga", "Steady", "Jubileo", and "Ella Fue".

A soulful 70s set from Cheo Feliciano – cut-above salsa done in close collaboration with songwriter C Curet Alonso, who wrote most of the songs on the set! Bobby Valentin handles arrangements – and the groove here has that joyous, upbeat style of his own work at the time – pushed forward strongly with basslines from Bobby, plus Ray Barretto on congas, Vinnie Bell on guitar, Dave Carey on vibes, and Larry Harlow on piano. The core combo's nice and tight, and gives the album a personal feel that matches the tunes nicely – and titles include "Nabori", "Salome", "Guaguanco Te Dedico", and "Hace Furo", a nice jazzy mambo track.

A wicked dip into Colombian music – focused around the work of two true giants of the scene! CD1 features 21 massive tracks from Fruko – one of the hardest-hitting artists working in Colombia in the 70s – often in a sound that starts out in New York salsa, but takes all these weird little twists and turns as it adapts to the local rhythms! Joe Arroyo's tracks start where Fruko's leave off – pushing the groove even more with a bolder, more confident Colombian style – still filled with some great jazzy riffs that you'd hear in salsa, but moving into some especially nice tropical touches too! The production on the material for both artists is great – often filled with some sweet studio tricks – and the booklet features notes on the artists, plus images of lots of vintage album covers too. 38 tracks in all – with tracks billed to each artist separately, or The Latin Brothers, La Verdad, or Afrosound – on titles that include "El Preso", "El Violento", "Tu Sufriras", "La Pintosa", "Ocho Dias", "El Esclavo, "Tifit Hayed", "San Juan De Puerto Rico", "Palenque", Pobre Naci, "El Son Del Caballo", "Baila Simon, "Musa Original", "Matigua", "Vuelve", "Son Apretao", and "En Barranquilla Me Quedo.

African grooves meet European club – in a totally sweet session with a very unique feel! Sandra Hallvey sings in French, sometimes with a breathy Euro style – but arrangements are by Jo Tongo, and have lots of funky undercurrents – offbeat grooves that electrify some deeper African funk elements, blended perfectly with some hip Parisian production! Titles include 'Hollywood Star", "Et Je Brule Ma Vie", "Fulla Girl", "Salsa Dance", and "Couleur Vanille".

Kako and Totico do way more than jump start the car with this killer collaboration – and really make the record burn brightly with a classic 70s salsa sound! There's lots of dark twists and turns to the set – not just from the horn parts and the way they roll along the grooves easily – but also from Totico's excellent vocals – which, given that he's also a percussionist, seem to have an inherent sense of rhythm right from the start! The sound is nice and raw, and the album is filled with great moments like "Para Ya, Bandolera", "El Trabuco Special", "Atencion Senores", "La Maquina Y El Motor", and "Oye Los Tambores".

A classic bit of 70s salsa gold from vocalist Hector Lavoe – a record done in close collaboration with Willie Colon, with whom Lavoe had worked on a great run of albums during the late 60s and early 70s! The set's got a slightly warmer and more straightforward feel than some of Willie's records – but still features arrangements and production by Colon, as well as a two-trombone, two-trumpet section that brightens up the tunes with a proud brassy finish! Piano is by Mark Dimond – nice and bold, with those dark edges of his we really like – and titles include "El Todopoderoso", "Emborrachame De Amor", "Rompe Saraguey", "Mucho Amor", "Tus Ojos", and "Mi Gente".

A classic bit of 70s salsa gold from vocalist Hector Lavoe – a record done in close collaboration with Willie Colon, with whom Lavoe had worked on a great run of albums during the late 60s and early 70s! The set's got a slightly warmer and more straightforward feel than some of Willie's records – but still features arrangements and production by Colon, as well as a two-trombone, two-trumpet section that brightens up the tunes with a proud brassy finish! Piano is by Mark Dimond – nice and bold, with those dark edges of his we really like – and titles include "El Todopoderoso", "Emborrachame De Amor", "Rompe Saraguey", "Mucho Amor", "Tus Ojos", and "Mi Gente".

An early classic from the great Raphy Leavitt – one of the leading underground lights of the 70s salsa scene, especially if you get away from the Fania/Tico side of the universe! There's a strong sense of soul to the record right from the start – one that comes more from the delivery of the lyrics, and some of the bluer notes in the instrumentation – never that uncommon compared to the rest of the scene, but delivered with this gritty sensibility that almost takes us back to Spanish Harlem days. Titles include "Jibaro Soy", "Cafe Colao", "La Cuna Blanca", "En Memoria A Un Hermano", and "Consentida".

A great follow-up to some of the Latin Percussion jam sessions of the late 70s – a recent recording, but one that really retains a classic vibe! The session takes the same approach as the older ones – pulling together a core batch of well-matched musicians, and letting them jam in the studio – often in ways that have more traditional elements than straight salsa, but which also have an open flow that's very contemporary, too. Most tracks are nice and long – building up from spare rhythmic elements, then filling in the groove – and although there's some chorus vocals on the record, most of the energy comes from the small group of percussionists, which includes Luisito Quintero, Roman Diaz, Pedro Martinez, and Little Johnny Rivero. Titles include "Yambu Rengue", "La Loma De Belen", "Skin Columbia", "Mamita", "Antillana", "Something Crazy", "Remember This", and "Gerigonza".

Great 70s work from Henry Mancini – a wonderfully rich score composed for The Moneychangers – an early mini-series for TV, and one that required a lot more music than the usual film project! This double-length set is filled with great Mancini moments from the 70s – some very groovy tracks that carry on his best 60s modes, some more serious passages that mark a great maturation in his approach, and a few standout 70s styles that really help add a lot to the mix! The package is a great look at this under-documented side of Mancini's career – and is put together with excellent sound, and a full set of notes that details not just the program, but the instrumental progression of the soundtrack as well. Over 2 hours of music – with tracks that include "Stay Out Of It", "Something For Miles", "Taco & Salsa", "The Snitch", "The Big Q", "An Idea/Buzz Saw", "Miles Returns", "Fade In", "White Girl Boogie/Black Girl Boogie", "The End", "The Shootout", "Alex & The Hoods", "Missing Money", and lots lots more!

Weird and wild sounds from contemporary Bogota – music that's got a very old school quality at its core, yet which also mixes in plenty of experimentation with the rhythms! Think of this as an old Colombian record with analogue electronics and sound samples – or some other-worldly sounds from the left side of the Peruvian scene – still with plenty of Latin elements at the core, especially in the grooves – but done with some really cool keyboards, tape tricks, and other nice bits! Titles include "Fiesta", "Guarach UFO", "Desesperanza", "Salsa Caliente", and "Salsa Del Zombie".

Ismael Miranda is standing proud at the start of the 80s with this great little set – bringing some new boldness into his work, and recording in the expanded salsa sound of Fania at the time! The record augments basic salsa backings with some larger orchestrations on a number of tunes – in a way that was being used with Willie Colon and others at the label – but instead of softening Miranda's sound, the approach seems to push him on a bit more – buoying his vocals up on a batch of well-penned arrangements from Luis Cruz, Luis Garcia, Ray Santos, Louie Ramirez, and others. Titles include "Rebeca", "Galera Tres", "Para Ismael Rivera", "Espiritu En Flor", "Mi Decision", and "Yo No Me Vuelvo A Enamorar".

Nothing creeping up here – as the album takes off right from the first note, into a joyous groove that's mighty nice! The group are billed as "the youngest Latin Orchestra in the world" in the notes – and there's definitely a feel here that reflects that fact – a fresh kind of energy that still hangs onto some of the more soulful elements of late 60s Latin, yet moves things forward towards the 70s salsa generation – not as concerned with easy labels as the group is with hitting a groove! Tony Pabon gives the record some sharp musical direction – similar to his own great records of the time – and the group's led by trumpeter Gus Colon, who gets in plenty of sweet licks! Vocals are by Tony Pabon and Nestor Sanchez – and titles include "Vivir La Vida Otra Vez", "La Gente Critica", "Ojos Que No Ven", "Ven Y Vacila", "Martillo Y Clavo", "Odio Y Falsedad", and "Llego Para Quedarse".

Pretty nice work from Joe Quijano – a Latin musician who never hit the bigger fame of some of his 60s and 70s contemporaries, but who always comes out sounding pretty great! The record's a nice back-to-basics session from the mid 80s – recorded in an older pachanga groove, but with a slightly more complicated feel – jazzier touches and more complicated arrangements than you would have heard 20 years before – almost an Eddie Palmieri influence at times, which is pretty darn great! Titles include "La Lluvia II", "Como El Alamo Al Camino", "Pa La Habana", "Cuidate Juan", "La Salsa Se Impone", and "El Jibaro En Nueva York".

A great mix of symphonic disco and Latin hustle – one of the more compelling moments from The Rice & Beans Orchestra, served up with some tight arrangements by Hector Garrido! There's a nice blend of New York and Miami modes going on here – and the proceedings are largely instrumental, with some standout instrumental solos amidst the larger orchestrations – augmented by enough conga work to make things kick nicely on the best numbers! Titles include "Vereda Tropical", "Blue Danube Hustle", "Our Love Concerto", "Symphonic Salsa", "Catano Ferry", "Rice & Beans Theme", and "Disco Dancing".

Warm mellow soul from David Sanborn – a surprisingly nice early album, recorded without all the schmaltz of his later work! The style is still quite full and professional, but there's also somehow a more earnest feel to the work – as Sanborn plays with a core group that includes Victor Lewis, Jumma Santos, and Hiram Bullock – blowing alto, but also singing a bit as well! Guest vocalists on the set include Hamish Stuart of Average White Band, plus Lani Groves and Kat McCord – and the whole thing's got an easygoing LA studio sort of groove. Titles include "Promise Me The Moon", "Stranger's Arms", "We Fool Ourselves", "Morning Salsa" and "Legend Of The Cheops".