Punkadelick’s ‘Inflorescence’ is one of Mike Dillon’s most balls-out records, thanks to the backing of seasoned, genre-free vets Brian Haas and Nikki Glaspie.

Times have changed but in adapting to it on ‘I Hope I Know,’ Seth Walker shows that his mastery of Americana music is just as it was during the ‘old’ times.

Steven Bernstein’s MTO and Catherine Russell convert Allen Toussaint’s R&B classic “Yes We Can” into a joyful, New Orleans jazz funeral parade.

While the energy of prior MTO records might be dialed back a bit, Steven Bernstein’s ‘Tinctures In Times’ is every bit as adventurous and emotionally weighty as before.

Charlie Hunter, Stanton Moore and Skerik of Garage A Trois are the old veterans of the whole jam-band, funk-jazz scene, but in all the right ways, ‘Calm Down Cologne’ sounds as if this is their debut album, because it’s got that new-band freshness to it.

The only way to lose with Ameondola Vs. Blades’ funky delight ‘Everybody Wins’ is if you miss out on putting an ear to it.

It’s tempting to call this a tilt toward Ben Harper territory. But ‘Are You Open?’ might be the most “Seth Walker” record Seth Walker has ever made.

Robert Walter’s 20th Congress was always about making fun party music out of jazz; ‘Spacesuit’ just takes it out to the final frontier.

In unveiling his Superette band, Chris Lightcap shows that he invests a fair amount of serious artistry into his work even when he’s making casually fun music.

With ‘No Revenge Necessary,’ Nolatet once again come up with something that defies categorization outside the very broad confines of “jazz.”