Keeping musicians on their toes always brings out the best jazz. That’s what Ben Goldberg sought out to accomplish with ‘Vol 2: Hard Science’ and he got just the results he was looking for.

‘Spontaneous folk music’ accurately speaks to the unpretentious nature of the music that Eri Yamamoto, Chad Fowler, William Parker and Steve Hirsh made.

Now on its ninth album ‘Sleeping Cat,’ Natsuki Tamura’s Gato Libre has never really been about jazz; it’s folk music with an open mind.

With the inspired assortment of musicians backing bandleader Mike Rivard, Club d’Elf’s ‘You Never Know’ sounds like the go-to world fusion album of 2022.

Tim Berne’s Decay quartet was good enough to beg the question of why hadn’t they made a record from their time together. Now, that question needn’t be asked anymore.

Like the cello trailblazers before him, George Crotty shows us the vast potential of his instrument, and he applies that potential globally while making it sound great for his Trio’s second album ‘Chronotope.’

Fully completed Steely Dan studio recordings not officially released are rare. Steely Dan covers are rare. Their newly uncovered take on Joni Mitchell’s “Carey intersects both kinds of rarities.

The new and stimulating all-woman collective Esthesis Quartet has quickly established a signature sound that’s as pleasing as it is intrepid.

Tony Williams’ new remaster of the barely released 1980 record ‘Play or Die’ is much more than a curiosity. It’s a legit statement on fusion jazz.

Kirk Knuffke has long been called a rising-star cornet player but ‘Gravity Without Airs’ is not the work of an ascending artist but a completely developed musician.