This creative burst mostly came with help from jazz luminaries, but ‘The Omnichord Real Book’ still sounds like the singular Meshell Ndegeocello.

Ebarhard Weber’s 1974 debut ‘The Colours of Chloe’ deftly assimilates classical, jazz, folk and even world fusion into an impressionistic whole.

Jan Garbarek would continue to produce great records for ECM in the years and even decades that followed, but there won’t ever be another ‘Triptykon.’

Michael Formanek, Anthony Pirog and Mike Pride produce the kind of inspired music that comes from jamming – even if the record wasn’t made that way.

With ‘Connection,’ Marc Ribot and his rabble-rouser super trio Ceramic Dog are back leading the hell raising contingent of loud, improvised music.

Michael Bisio and Timothy Hill recently got together to make a delightful, instinctive record that neither could have made with anyone else.

‘Digital Reaction’ has all the wide ranging guitar-led gumption and fortitude of Marc Ribot’s Atomic Dog but with Nick Millevoi’s own stamp, marshaling shards of most everything he’s done up this point while adding a few new tricks.

Tyshawn Sorey’s trio builds on the triumph of the standards-reimagining ‘Mesmerism’ with the loose, imaginative ‘Continuing.’

With ‘DREAMBAND,’ Shawn E. Hansen, Mike Pride and Clayton Thomas figured out how to fit their talents together in an inspired way for this experimental collaboration.

Pat Metheny produces a solid set of intimate, heartfelt numbers, reminding us that decades later, there’s no guitarist who delivers those better.