This five-LP box set (which has been reissued on CD) contains nearly all of Stan Getz's classic bossa nova sessions, five wonderful yet diverse LPs (Jazz Samba, Big Band Bossa Nova, Jazz Samba Encore, Stan Getz/Laurindo Almedia, and Getz/Gilberto). The cool-toned tenor is heard on his groundbreaking collaboration with guitarist Charlie Byrd (which resulted in the best-selling "Desafinado"), is showcased with a big band arranged by Gary McFarland (introducing "No More Blues" and "One Note Samba"), stars in recordings with guitarists Laurindo Almeida and Luiz Bonfa, and is heard at the famous meeting with composer/pianist Antonio Carlos Jobim, guitarist João Gilberto, and singer Astrud Gilberto, which resulted in the major hit "The Girl From Ipanema." This essential set finishes off with three previously unissued performances from a 1964 Carnegie Hall Concert, concluding with a remake of "The Girl From Ipanema." These recordings stand as proof that it is possible for good music to sell.

A 14-song, 63-minute collection (originally a double LP) comprising many of the highlights (but no "Light Flight") of the original group's history from 1968 through 1972. The notes are minimal, and there are no original release dates or any identification of the albums (The Pentangle, Sweet Child, Basket of Light, Cruel Sister, etc.) whence this material originated. The latter are the only flaws in what is otherwise a fine if not completely comprehensive cross-section of the group's work, showcasing their many and varied sides – Bert Jansch's, Danny Thompson's, and Terry Cox's jazz leanings in "Train Song," John Renbourn's more traditional approach in "Let No Man Steal Your Thyme," their forays into medieval music ("Lyke-Wake Dirge") and progressive folk ("House Carpenter," "Bruton Town"), etc., much of it projected by Jacqui McShee's clear, soaring vocals. The CD also highlights their early records' effective use of stereo as a format for their contrasting technique, especially among the guitars and the rhythm section.

Since Almoraima (1976) Paco had not recorded an album which we could call authentically Flamenco. Not like his early recordings, which centred on classic guitar toques as played in concert. On Siroco, he abandons for the moment the sound of The Sextet to mark out in eight pieces the new vanguard of Flamenco creation. A record for lovers of good music, a mature and worthy work.

When Paco de Lucía made the groundbreaking Almoraima, he was just 28 years old. Already established as a prodigious talent, he used to opportunity to expand the possibilities of the flamenco music he loved so much. It wasn't so much the addition of bass and congas (he'd employed them before) as his entire rethinking of what constituted flamenco. The title cut, which opened the album, emphasized the Moorish influence, not only in the presence of the lute-like oud, but in its melody, which borrows from Arab maqams, or modes. "Rio Ancho" transports the rhumba rhythm to Brazil, melding it to a feel taken from bossa nova, which makes it all the more sinuous and sensual.

At the height of her decade-long rise to fame, Julieta Venegas released her first live album, MTV Unplugged, a star-studded and meticulously arranged performance recorded before 450 adoring fans in Mexico City. She performs her greatest hits, of course, but she also adds to her set list relatively obscure songs – most delightfully "Esta Vez," a ballad from her debut album, Aquí (1998) – and several new songs, including the international chart-topping lead single, "El Presente." As with many MTV Unplugged albums, guest stars are featured throughout; most noteworthy among them here are Spanish rapper Mala Rodríguez, who performs in the place of Chilean rapper Anita Tijoux on "Eres Para Mí," and Brazilian superstar Marisa Monte, who duets in Portuguese on "Ilusión" (a new song written by Venegas, Monte, and Arnaldo Antunes). Guest star or not, the performances are each interesting in their arrangements, which are generally quite different from their studio original counterparts.

Otra Cosa, the eagerly awaited fifth studio album by Julieta Venegas, is remarkably similar to her previous two, Sí (2003) and Limón y Sal (2006). The similarity is remarkable because both those albums were all-around excellent, loaded with Latin pop hits and first-rate album tracks. There wasn't a bad track on either album, and Otra Cosa is likewise rock-solid, starting off with three fantastic songs in a row, "Amores Platónicos," "Bien o Mal," and "Despedida." Moreover, all three albums are similar in style, produced by Cachorro López and comprised of upbeat pop songs with clever lyrics, rich melodies, and a range of instrumentation (guitar, piano, accordion, and beats, above all). Otra Cosa was eagerly awaited in part because of the four years since Limón y Sal. During that time, Venegas became one of the most popular and critically acclaimed Latin pop artists in the world.

Blasters founders Dave Alvin and Phil Alvin have had a famously combative relationship over the years, but as Dave once said, "We argue sometimes, but we never argue about Big Bill Broonzy." So it's fitting that their love of Big Bill brings them together in the recording studio for their first album together since the Blasters' Hard Line in 1985. Common Ground: Dave Alvin & Phil Alvin Play & Sing the Songs of Big Bill Broonzy features the Alvin Brothers performing a dozen songs from the Broonzy songbook, and while listening to this is a potent reminder of how good Broonzy's songs still sound in the 21st century, it also demonstrates the complementary talents of Dave and Phil Alvin.

The 1970s were banner years for Airto Moreira – not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor.

Kitaro is an amazingly talented individual. He has been one of the world's premier electronic composers and performers for decades. During that time, he has created some of the most memorable music in the new age community. His output has been both prolific and consistent. It is difficult to review his albums because they only compare to each other. Tenku is a brilliantly lyrical yet entirely instrumental CD. Kitaro speaks volumes with his synthesizers. These romantic interludes are full of gentle melodies and lush synth washes. The atmospheres are vibrant and bold. They are connected by wispy drones. There are no dark overtones or edges; this is upbeat, pastoral ambience. There are few similar artists, but fans of Vangelis, Suzanne Ciani, Constance Demby, and Dean Evenson are likely to enjoy Kitaro's music as well.