There was at least one benefit to the departure of Jon Anderson from Yes in 2008.

David Byrne does some intriguing new things with this live update of “This Must Be the Place (Naïve Melody),” from the Talking Heads’ 1983 release Speaking in Tongues. You May Also Like: Ever Wonder How David Byrne Fit Inside That Giant Talking Heads Suit?

Ramsey Lewis discusses his signature hit “The ‘In’ Crowd,” and a breakthrough collaborative moment with Earth Wind and Fire.

Discovered far too late, Mississippi bluesman Charles Caldwell was already dying of pancreatic cancer as he began recording his belated debut for Fat Possum. You May Also Like: Junior Kimbrough Set a New Blues Standard on ‘All Night Long,’ Then Vanished How R.L. Burnside’s ‘Bad Luck City’ Introduced an ExcitingRead More

If pianist and composer Matt Baker’s new recording has the tempo and feel of a jet-set traveler, there’s a reason for that: Baker, an Australian native, has kept busy since moving to New York City in mid 2010 You May Also Like: Ginger Baker (1939-2019): An Apprecation Dave Stryker –Read More

A fun opportunity to catch up with Bill Wyman’s old-school R&B and blues revue arrives in the form of this sweeping five-disc retrospective focusing on the former Rolling Stones bassist’s subsequent Rhythm Kings band. You May Also Like: What ‘Back to Basics’ Said About Bill Wyman’s Post-Stones Career

A lesser talent than Israeli guitarist-composer Yotam might have gotten lost in this project. You May Also Like: Victor Assis Brasil – Toca Antonio Carlos Jobim (1970, 2017 reissue) Claudio Roditi’s Gorgeous ‘Brazilliance x4’ Deftly Balanced His Many Influences

Early on, Mick Jagger told an interviewer: “We were blues purists who liked ever-so-commercial things but never did them onstage because we were so horrible and so aware of being blues purists, you know what I mean?” You May Also Like: No related posts.

Here’s unearthed new proof of Ray Charles’ still-underrated creativity, unerring rhythmic ear and undeniable moxie as a jazz musician.

The sweeping, cinematic quality of Alex Lopez’s new We Can Take This Boat makes perfect sense, really. After all, the saxophonist/composer’s debut, due on Nov. 22, follows earlier work on a series of independent films in New York City. An all-original effort, Lopez makes good on a series of namedRead More