A cool collection of very unusual grooves from Argentine composer/guitarist Rodolfo Alchourron – part of a generation of groundbreaking musicians in his homeland that also included Lalo Schifrin and Gato Barbieri – yet unlike those artists, a talent that never achieved greater global fame! The first album here – the initial Santa Y Clarificacion set – is very much like something Lalo Schifrin might do, but even more offbeat – as it's a weird blend of jazzy instrumentation, funky rhythms, and spacious sounds that would definitely be right at home in a film score – yet which stretch out even more in the expanded space of the album's long tracks! Instrumentation includes Organ, tenor, alto, flute, and some great electric bass and drums – really romping at the bottom, and driving the tunes along wonderfully. There's a bit of wordless vocals at a few spare points – breezily grooving along – on titles that include "Clarificacion", "El Stanabancos", "No Divaguen", "Melopea", and "Pajaros Sueltos". The second album – Santa Y Clarificacion – has a similar groove, but one that goes out even more – almost a touch more of a fusion influence at points, although there's still some great horn charts that continue a soundtrack vibe. Horns cascade beautifully, falling into some great chord changes and washes of color that really warm things up – and titles include "Vals Trunco", "Esas Dos Cosas Benditas", "Casi Un Tango", "Vals En La Muy Sostenido", and "Algunos Dias Alguna Noches". (Jazz, Latin) CD

Ruben Blades steps out here in a mix of modes – tracks from both his Swing and Salsa Plus albums, and like those cuts, done in collaboration with the group of Robert Delgado – the bassist whose arrangements really help the record soar! Ruben's vocals are wonderful – somehow even better with age, and still commanding all the power of the past – and the rest of the group has the right balance of jazzy horn work and Latin currents in the rhythms to really help set the mood. Titles include "Mambo Gil", "Watch What Happens", "Pennies From Heaven", "Paula C", "Do I Hear Four", "Cobarde", and "The Way You Look Tonight". LP, Vinyl record album

Joe Loco was one of the most amazing early Latin piano talents, and in an album like this, you can really hear him go to work in a savage way! On this set, Joe moves all over the keys in a number of different ways – from heavy left-handed stride playing, to light and lovely jazz soloing, to hard and rhythmic Latin grooving. The backing is spare, with mostly conga and bongo behind Joe, so you hear his amazing piano work right up front, in a way that doesn't always happen on other albums of his. Titles include "El Baion", "Gee", "Why Don't You Do Right", and "Don't Be That Way". LP, Vinyl record album

A great Latin twist for Bobby Watson – an album that has the alto sax genius joining the Space Station combo of percussionist Ray Mantilla – for a session that's easily one of the most memorable moments of the time from both players! Watson has a depth of soul in his horn here that's really incredible – a way of grabbing us right from the start of a tune, and bringing things home strongly even with a bit of electric bass in the lineup, which might otherwise mar the acoustic vibe of the group. Dick Oatts handles tenor, flute, and soprano sax on the record – but Bobby's clearly the main horn star – and other members include Eddie Martinez on piano, Ruben Rodriguez on bass, and Steve Berrios on drums and percussion. Titles include "Hostage", "Curve Ball", "Dark Powers", "Catch Me If You Can", "The Things You Do", and "Rostro De Ti". (Jazz, Latin) LP, Vinyl record album

One of the most unusual albums ever cut by the legendary Latin jazz trombonist Juan Pablo Torres – and one of the grooviest, too – a special set that was recorded in Milan in the mid 80s, with backings by a sweet group who do a great job of blending Latin rhythms, clubby grooves, and just the right touch of jazz! Juan's on trombone in the lead – working with the Algo Nuevo group, which features the mighty Gonzalo Rubalcaba on piano, Fender Rhodes, and other keyboards – plus trumpet work from Adalberto Lore, who balances out Torres' sound in a really great way! There's both a mix of electric and acoustic percussion on the set, and the groove is more 80s club than 70s disco – and also comes across with the style of some of the more unusual hybrids that you'd be likely to find on the Areito label during Juan's generation in Cuba. Titles include "Alone", "Que Melcocha", "Y Caramba Que Son", "Oblivion", "Rialto", "Bermuda Triangle", and "Cubadisco". LP, Vinyl record album

A fantastic look at one of the biggest contributions that Cuba ever made to music in the 20th Century – the rise of the jam session and descarga scene in Havana right before the revolution – a moment that saw an already-great style get even better in the hands of a few key musicians! Afro-Cuban sounds were nothing new to that city, but as the 50s moved on, the players on the scene adopted lots of influences from American jazz – and were really opening up in ways that were as open and expressive as they were fiercely collaborative – moving past the idea of a tighter ensemble with a star leader, and instead bringing together smaller groups with soloists that really got lots of space to do their thing – as did the percussionists, who really drive the music here! Most of the tracks feature some sort of vocals, but also have plenty of standout solos too - and the set features a huge amount of tracks by Cachao in his prime, plus lots more by Julio Gutierrez, Walfredo De Los Reyes, Rolando Aquila, Fajaro, Nino Rivera, and Chico O'Farrill – served up here with a total of 55 tracks on 3CDs. CD