Double CD album including a collection of 30 songs performed by the band Latin Cuban Connection. Although the title of the work refers to the best of 'salsa', in the first CD really most of the cuts are salsa-mambo, binding some other dances as chachacha and more, and in the second CD all the songs are merengues excepting one cumbia.
A two-CD set coming with 30 mostly well-known latin songs from EMI. Tracks performed by "The Latin Cuban Connection" orchestra; they're generally hot, and sometimes sad; but they're enjoyable and listenable. If you like latin music, then you'll like this album also.
Quatro: The Definitive Collection assembles four truly classic Tito Puente albums recorded between 1955 and 1960 for RCA, and adds a disc of outtakes, alternate takes, and rarities in a lavishly designed limited-edition box set. The box is 6" x 6" with each album housed individually in a thick cardboard sleeve with back and front facsimile cover art. These four albums were cut in chronological order: Cuban Carnival (1956), Night Beat (1957), Dance Mania (1958), and Revolving Bandstand (1960), the last recorded in collaboration with the Buddy Morrow Orchestra.
Future Loops is proud to present Afro-Cuban Drums, a deluxe collection of drums and percussion that blend Jazz, Afro-Cuban and Latin rhythms with class and flare! The various Afro-Cuban drum styles are rich in out-of-the-box rhythmic patterns and can blend perfectly in any music genre that will benefit from contagious grooves with a different Latin-Fusion twist ! This impressive and inspiring sample library was all recorded live by the best drummers and percussionists featuring over 600 Drum Loops, Fills and Percussion loops (Bongos and Congas) .
Chucho Valdes, Cuba's most famous jazz musician, has rebalanced the repertoire of his Afro-Cuban Messengers on Border-Free, mixing its American-jazz agenda (the group's name deliberately references both Valdes' roots and the late Art Blakey's classic soul-bop Jazz Messengers group) with more extended Latin-American input, and some Native American and Andalusian connections, too. Saxophonist Branford Marsalis, guesting on three tracks, is warmly romantic on tenor on the loping Tabu, agile and fluent on the Cuban dance-shuffle Bebo, and mercurial on a soprano-sax break full of north African microtonalisms on the hurtling, horn-hooting finale, Abdel.