Otis Taylor’s “Cold at Midnight,” a white-knuckle ride into the very heart of worry, advances the forthcoming ‘Hey Joe Opus / Red Meat.’

Cyrus Chestnut doesn’t supercede the definitive take by Bill Evans’ Trio. Still, I found myself enjoying the new corners he and his trio explored.

A bit comical and cheesy but astonishingly inventive, Hot Butter’s “Popcorn” was so futuristic that it could pass for a contemporary recording.

A highlight of ‘Ultimate Sinatra,’ everything is in place on Frank Sinatra’s Count Basie collaboration “Best is Yet to Come.” And then it surprises you.

Robert Randolph helps set a new standard for improv gospel-jazz country blues supergroups. Because, yeah, they’re the only one.

Had this been Circus’ lone contribution they would still inspire awe – since “Stop Wait and Listen” is truly one of the greatest singles of all time.

John Lodge displays a welcome willingness to build a bridge to the future from a well-known foundation of the Moody Blues’ past.

Sonny Landreth reminds us just how important the blues is, as both foundation and (maybe most importantly) as launching pad.

Crunchy where they might have been folky before, the Indigo Girls’ punchy “Happy in the Sorrow Key” simply pulls no punches.

Graham Parker and the Rumour returned after three decades as if nothing had changed. Everything had changed, of course. Well, except for these guys.