Cada

Cada vez que nos miramos is the second album by Spanish singer Camarón de la Isla. It was recorded and released in 1970. It features Paco de Lucía on guitar and his brothers Ramon de Algeciras on second guitar and Pepe de Lucia. He composed most of the songs, and Antonio Fernández Díaz composed five songs, "Fosforito," alongside Pepe de Lucía and Antonio Sánchez Pecino.

Cada vez cadáver, el título del nuevo disco, tiene un tonito pesimista o no sé si yo me estoy liando. Pero no suena especialmente vital así de primeras…

Texto de contraportada: Un café, unas tostadas o un cruasán, el periódico y toda la mañana por delante. Pocos momentos son tan placenteros como el desayuno del domingo, un momento maravilloso en que la vida se detiene y del cual generaciones y generaciones de personas de todo el mundo han gozado en compañía de las aventuras de Carlitos y Snoopy, y del resto de la pandilla: el entrañable Woodstock, Lucy, Linus, Patty… Esta antología, que reúne las mejores tiras dominicales de Charles M. Schulz, conmemora el 65 aniversario de este gran hito de la cultura popular. Nos hará sentir como si realmente cada día fuese domingo.

Colombian jazz-folk singer-composer Gomez has achieved a charming synthesis of old and new, past and present. Her compositions are a travelogue of South and Central American, Caribbean and European influences. She moves fluidly between Peruvian lando, Argentinean chamame and Cuban son, weaving African-derived rhythms and percussions over the plaintive melodies of indigenous peoples or descended from Spanish conquistadores, whose own songs incorporated Sephardic Jewish and Moorish sounds. Recorded at New York’s Saint Peter’s Church, which is equally famous for its jazz ministry and warm acoustics, her clear, crooning mezzo-soprano is supported by an intimate combo of strings, woodwinds and percussion, plus an occasional accordion. In such a setting and in the hands of such talented performers, the special timbre of each instrument is appreciated anew and even handclaps take on an almost orchestral importance. One delightful stand-out is a Mexican ranchera-infused treatment of "Cielito Lindo." A chestnut if there ever was one, Gomez’ tender interpretation reflects love for her mother (whose name is Cielo – "Cielito" is the diminutive) and a sense that even familiar things may harbor unexpected surprises. –Christina Roden

Chesky Records release. Colombian singer/songwriter Marta Gomez is a wonderful, enigmatic talent. Her voice has the lulling softness that evokes Brazil's female vocal icons, yet there's a depth to her writing that goes far beneath the surface. She's also something of an expert on Latin rhythms - there are 13 different ones on this disc, all of them rooted in different cultures, from Colombian bambuco to Argentine chamame.