With Wayne Henderson of Crusaders fame handling the production, Caldera showed a great deal of promise on its self-titled 1976 debut album. The Latin jazz-fusion unit isn't afraid to take chances on such imaginative pieces as Jorge Strunz's "El Juguete" and Eduardo del Barrio's "Exaltation" – chances that pay off in a major way. Though one can tell that Caldera's members were well aware of such explorers as Return to Forever, Weather Report, and the Mahavishnu Orchestra, it's also clear that they were major Earth, Wind & Fire fans and had absorbed a wide variety of Latin music. Strunz and del Barrio were hardly the only fusionists who incorporated Latin rhythms in the 1970s – Chick Corea, George Duke, Wayne Shorter, Al DiMeola, and Joe Zawinul were all well aware of the musical innovations of Latinos, but Caldera was unique in the sense that the band represented a real melting pot of Latinos bringing different ideas to the table. And on this LP, those ideas work magnificently.

Anita O'Day recorded many rewarding albums in the 1950s when her voice was at its strongest, and this collaboration with the Oscar Peterson Quartet (comprised of pianist Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer John Poole) may very well be her best. Not only is the backup swinging, giving a Jazz at the Philharmonic feel to some of the songs, but O'Day proves that she could keep up with Peterson. "Them There Eyes" is taken successfully at a ridiculously fast tempo, yet the singer displays a great deal of warmth on such ballads as "We'll Be Together Again" and "Bewitched, Bothered and Bewildered." While Peterson and Ellis have some solos, O'Day is never overshadowed (which is saying a lot) and is clearly inspired by their presence. The very brief playing time (just 34 minutes) is unfortunate on this set, but the high quality definitely makes up for the lack of quantity. A gem.

A master of the traditional and the progressive, the styles of the past and the bright, swinging future, Eddie Palmieri is one of the most influential Latino pianists of the 20th century. His extreme versatility and artistic vision are brilliantly displayed on The Sun of Latin Music. While most Latin jazz musicians fall into either staunch traditionalism or pursuing progressive ideas to the detriment of groove and accessibility; Palmieri marries both ideals effortlessly. With smooth, danceable rhythm, lush vocals, and a clear center to the song, combined with sophisticated arrangements, tunes like "Desea Salvaje" and "Nunca Contigo" both swing the dancer and captivate the discriminating listener. Palmieri's interest in stylistic variety, including styles like danzon, guaguanco, and cumbia, not common of '70s era salsa, enrich the album and show off his versatility…

Guitarist Kenny Burrell leads a strong jam session that features the talented but very underrated trumpeter Louis Smith (who sounds a bit like Lee Morgan), the similar but contrasting tenors of Junior Cook and Tina Brooks, pianist Duke Jordan, bassist Sam Jones, and drummer Art Blakey. Jordan's tongue-in-cheek "Scotch Blues" is a high point.

This was the first and last time Pepper worked with Jordan, and came about as a result of Pepper's usual pianist, George Cables, being unable to make the dates at Club Montmartre in Copenhagen. To Pepper's dismay, Danmarks Radio decided to record the first gig of the Montmartre series. Pepper need not have worried – the show was a rousing success, with the band tackling a set of standards (and a couple of Pepper originals) with such verve and determination that relatively simple tunes turned into astounding solo workouts (there are several drum and bass solos to be heard on this record), the amazing highlight of which is a shot at "Besame Mucho" that rounds out to twenty-two minutes. Art Pepper was in the process of dying at the time this recording was made, but there's no lack of energy, no loss of vitality. A two-CD live jazz set that's well worth having and should not be overlooked.

Anita O'Day is heard in prime form on this early Verve date. Accompanied by an orchestra conducted and arranged by Buddy Bregman, O'Day is at the peak of her powers on such songs as "You're the Top," "Honeysuckle Rose," an emotional rendition of "A Nightingale Sang in Berkeley Square," and "As Long As I Live." One of her better recordings, this date is recommended.

This matchup between pianist Oscar Peterson, bassist Niels-Henning Ørsted Pedersen, and drummer Louis Hayes directly precedes Peterson's recordings for Pablo. The pianist is in typically brilliant form on the LP, performing six standards (including "Soft Winds" and "On the Trail") along with his own "Wheatland." From the results here, it couldn't have been too surprising that Peterson would want to record frequently with Pedersen in future years.