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Chucho Valdes is easily the living king of Cuban jazz piano. This anthology, issued by the premier Bele Bele Jazz Club label from Spain, is an overview of the roots of the pianist's development as both an interpreter of classic Cuban material and as an improviser. The first 12 tracks on the set, recorded in 1970, borrow heavily from the "feelings" movement of Cuban dancehall music from the late '40s and early '50s, with numerous compositions by Jose Mendez and Cesar Portillo de la Luz. There are also trademark Valdes originals such as his own "Preludio No. 1," based on Debussy's. Other tracks here, from 1982, borrow from the later dancehall traditions and lineages such as the "Evocations" series written by Jesus Valdez including one for Josh White! The first 12 cuts features Valdes with a stellar rhythm section that included bassist Orlando Lopez (Cachaito) and drummer Enrique Pla, and the last eight are solo.

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It began right after the release of "Returned, Restored" because I had started writing material that already pointed in this direction. It developed very gradually, the repertoire kept adding new aspects slowly - that is how I prefer to develop things actually. In the course of these years I also had two commissions to work on, which turned out to fit very naturally in the material for the album. So even though I feel that "The Well" has become a very unified and coherent album, it still is a mixture of songs written individually and of pieces written as a commission for the Cheltenham Jazz Festival in England 2011 and pieces for the Oslo International Church Music Festival 2011.

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The most jazz-oriented of the elderly musicians in the Buena Vista Social Club, pianist Ruben Gonzalez was 77 at the time of this CD, his debut as a leader. Although he did not even own his own piano at the time, he plays brilliantly, performing a variety of traditional melodies plus two originals, often quoting other songs and really stretching himself. His chord voicings are distinctive and very inviting, his control of the piano is quite impressive, and the music sings its heart out. The CD was recorded spontaneously over a two-day period with Gonzalez mostly being the lead voice, assisted by trumpeter Manuel Mirabal (who has some fine solos), bassist Orlando "Cachaito" Lopez, several percussionists, and occasionally three background singers. This set is impossible not to love.

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Portico Quartet still sound like nothing you ever heard before. The Mercury nominated East London based outfit's unique music has expanded to embrace new sonic territories. Drawing on the inspiration of electronica, ambient, classical and dance music as they take their strange, beautiful, cinematic, future music to exciting new vistas where the inspiration of Burial, Mount Kimbie and Flying Lotus rubs shoulders with the textures of Arve Henriksen and Bon Iver and echoes of Steve Reich and Max Richter. But all underpinned by a shared joy in collective music making as the band push their inimitable music into the future.

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THE COMPLETE QUARTETS WITH SONNY CLARK includes the albums NIGERIA, GOODEN'S CORNER and OLEO as well as 3 additional tracks. This two-disc set gathers together the cuts for three Blue Note sessions teaming Grant Green with Sonny Clark. The first, NIGERIA, was originally release posthumously in 1980 and features Green's only collaboration with drummer Art Blakey. GOODEN'S CORNER and OLEO were both only released in Japan in 1979 and 1980, respectively. The latter two sessions featured Louis Hayes on drums along with Sam Jones, the bassist for all three albums. Luckily these sessions have been carefully restored and release for all to hear.

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Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the LP length of this CD reissue (under 35 minutes), this is a particularly strong example of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See For Looking," George Gershwin's "Soon," "Blackout" and a driving version of the classic blues "Castle Rock." Recommended.

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These are tracks taken from several records by different Cuban bands in which Chucho Valdés took part. The pieces range from bolero and salsa to cumbia and jazz. There is even a touch of unofficial mini Irakere with "Blues 1080." The recordings were done by UK label Tumi.

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Speaking eloquently to the benefits of keeping a working band together, One For All continues to add some distinctive flair to the mainstream tradition while building a singular book of originals and uniquely arranged standards. Blueslike, their fifth effort for Criss Cross, finds John Coltrane firmly in mind with an uptempo romp through Giant Steps, and a bossa-inflected Naima. Rounding out this program of jazz standards are a few band originals and an updated arrangement of the Bacharach trinket In Between the Heartaches.

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Yukiko Matsuyama’s latest release, Crème Brulée, is a joyful blend of Smooth Jazz and World Music that will excite & delight! It's a delicious feast which blends the Japanese flavors of the Koto with westerm instruments and rhythms from around the world. The Koto Yuki Band beautifully executes 10 original compositions by Matsuyama. Greg Vail’s soulful sax blends joyously with Yukiko’s Koto. A 13-string zither or harp, the Koto is Japan's national instrument. She delivers the sounds of the ancient 7th century instrument with authority and grace while managing to infuse elements of jazz, pop, new age, and world music into her mesmerizing compositions.

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Legendary bassist EDDIE GOMEZ has been on the cutting edge of music for over four decades. The Latin GRAMMY® award-winner’s impressive resume includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan and Benny Goodman. Eddie’s unique sound and style can be heard on hundreds of recordings spanning the worlds of jazz, classical, Latin jazz, rhythm & blues, popular and contemporary music.

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"Paraíba meu amor" is a musical project, about Forró - popular music of the Brazilian Nordeste, and the meeting of Latin-American musicians with the French accordionist Richard Galliano. Live performance at Montreux Jazz Festival 2008, July 11.

Since coming out the other side of a deep personal tragedy, Kenny Werner has resumed his career with a vengeance. First there was No Beginning, No End (Half Note, 2010), which dealt with the tragic loss of his daughter, Katheryn , in a 2006 car accident, as the pianist and wife, Lorraine, found the way from anger and grief to acceptance and hope through spiritual guidance and music. The smaller-scoped but potent Balloons (Half Note, 2011) came a mere six months later, from a 2010 live performance with his regular touring band. Now, just another half-year on, Werner returns with Institute of Higher Learning, a vibrant big band session that teams the veteran pianist with the Brussels Jazz Orchestra, for a set of four originals and one cover.

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A pair of early 80s fusion sets from Al Di Meola – 1980's Splendido Hotel and '82's Electric Rendezvous – in a single package! Splendido Hotel is one of the most stylistically sprawling fusion efforts we can think of – with a vibe that stretches from spacey atmosherics, to muscular riffing, to Latin and Middle Eastern influences – and that's just the in the opening track! The personnel is pretty amazing – with Eddie Colon, Jan Hammer, Les Paul and Chick Corea contribution. Includes "Alien Chase On Arabian Desert", "Silent Story In Her Eyes", "Two To Tango", "I Can Tell", "Spanish Eyes", "Bianca's Midnight Lullaby" and more. Electric Rendevous is another wildly eclectic and far reaching fusion groover from guitarist Di Meola – with a number of players from the Slendido Hotel set, including Jan Hammer, Philippe Saisse, Steve Gadd and Anthony Jackson. Titles include "God Bird Change", "Electric Rendezvous", "Cruisin'", "Ritmo De La Noche", "Jewel Inside A Dream".

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This 1992 recording by the Garbarek Group has their customary blend of Norwegian folk themes and original compositions, with the leader's big-toned soprano and tenor saxophones at the heart of a music that combines cool lyricism and intense, if restrained, passion. It's the emotion that Garbarek can concentrate in a single note that distinguishes his work. His soprano is a keening wail in the unaccompanied introduction to "Brother Wind March," his high-register tenor an impassioned cry on "The Tall Tear Trees." Rainer Bruninghaus's piano provides a reflectively lyrical contrast, while the shifting rhythms of percussionists Manu Katche and Marilyn Mazur add variety to the reiterated themes. The CD is filled with distinctively Norwegian touches.

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