American Negra

His third studio album provides confirmation that the 36-year-old Cuban pianist is one of the most gifted, adventurous spirits of his generation. A lyrical approach recalling Herbie Hancock and Abdullah Ibrahim persists, but Yo also explores Cuban-African connections with guests such as kora player Sekou Kouyaté, percussionist Baba Sissoko and Mali singer Fatou Diawara. Elegant melodies such as "Bibisa" and "JMF" develop into intense instrumental sparring, while Fonseca touches on funk and electronica ("80's"), and laces compositions with poetry (an overexcited Mike Ladd on "Mi Negra Ave Maria"). By turns playful and passionate, Yo boasts poise and experimentation in equal measure.

The final recording of the mighty Queen of Salsa's career, Regalo del Alma was certainly in keeping with the exuberant, joyful tone that her enormous fan base has come to expect from her. With stylistic influences and production value a bit more modern than one might expect from a legend whose recording career has spanned 45 years, this album will hook yet another generation on Celia Cruz's regal, earthy presence. Cruz is joined by a cast of consummate professionals including producer Sergio George, percussionists Marc Quiñones and Luis Quintero, and many of the usual suspects that one might expect to find on a record of this caliber. These contemporary masters bring a freshness to the project that is invigorating.

The great irony with this release is that it was perhaps the most innovative and interesting on the Shrapnel label, yet received little attention until years later. Yngwie Malmsteen's influence on young guitarists produced an endless supply of technically competent, but largely uninspired, effigies. Mark Varney signed the German guitarist/composer Bernd Steidl, who had been studying at the Guitar Institute of Technology (GIT) in California, after hearing a demo tape. Released without much press or fanfare, the recording was only mildly successful within the guitar-shred community. Perhaps the reason for this was that the core American audience, primarily young, heavy metal-influenced guitar students, were not ready for the level of sophistication presented in this acoustic format.

Leo Brouwer-Irakere" Documents An Exceptional Concert That Sought To Break The Barrier Between Classical And Popular Music (Havana, 1978). Thus, It Brought Together For The First Time Leo Brouwer -Considered At The Time One Of The World´S Most Important Guitar Soloists - And The Afro-Cuban Jazz Group IRAKERE. The Group, Winner Of A GRAMMY In 1978, And The # 1 Ranking Latino Jazz Band, Includes Trumpeter Arturo Sandoval, Saxophonist Paquito De Rivera (Who Blows A Blinding Solo On Misa Negra), And Pianist Chucho Valdés.

If the aim of Flamencopolis is to alter any misguided impressions that flamenco is a staid music and dance style whose components are set in stone with little room for innovation, it succeeds wildly. In recent years, artists such as Ojos de Brujo, Ketama and the rocking Raimundo Amador (the latter two are included here, the former, unfortunately, are not) have taken the basic elements of traditional flamenco and created from them something appropriately called nuevo flamenco. Placed side by side with the more traditional form, which often occurs on this project, the two branches of the music sometimes sound so dissimilar that one could make a case that they are not even related. But as if to prove the point that they are indeed, and that the possibilities go even further, Flamencopolis not only converges the new and old flamenco styles, but invites artists from outside of the genre to collaborate with some of flamenco's greats, thus making even more clear that flamenco is capable of seamless integration.