The turn of the millennium was a time of artistic resurgence for UK guitar lord Allan Holdsworth; with its stripped down arrangements and group improvisational freedom, Holdsworth got more from less out of Sixteen Men of Tain (2000).

Last month we got a taste of UK acid jazzers The Brand New Heavies’ first release since 2006′s Get Used To It, and the advance single “Sunlight” signaled a pretty decent return.

Steve Jenkins may be a bassist, but he’s seemed to have learned a lot from guitarists with which he’s worked, like, say, Vernon Reid and David Fiuczynski, in how to craft music around his chosen instrument and his style of playing it.

A long time ago, I was with my cousin at some guy’s apartment and this guy pulls out an old Sarah Vaughan record, puts it on the turntable and the song he played just blew me away.

The follow-up to 2010s’ Betweenwhile by Bacteria To Boys involved a transition from Darius Jones to Jon Irabagon in the sax role, but also a transition for its chief, Mike Pride, too.

Albums with as many songs as a 45 single are bound to be interesting, and that’s undeniably the case for Mike Pride’s dual epic numbers compiled into his upcoming Drummer’s Corpse album.

The allure of Danish-Swedish quartet David’s Angels comes from their uneasy truce among chanteuse jazz, avant-Prog and indie rock, and the tension that creates

Lorenzo Feliciati more often than not finds himself making collaborative kind of music instead of solo projects. A virtuoso at both electric and acoustic bass, Feliciati needs no help, but recognizes that sometimes, getting together with other creative musicians results in an especially creative outcome.

An assemblage of musicians the caliber of Marc Ribot, Ches Smith and Shahazad Ismaily usually signals that this is going to be seriously nerdy jazz, but Ceramic Dog is, in many ways, the exact opposite.

“I love feedback very much.” When you hear the noise art of Otomo Yoshihide, you understand what an understatement that is, coming from him.