For this festival set performed in Italy ‘Live In Florence,’ Otomo Yoshihide, his guitar and his turntables match wits with Chris Pitsiokos with his alto saxophone and his electronics.

The John Scofield Trio’s ‘Swallow Tales’ shows that Steve Swallow songs are the sound of quality modern jazz, even with a small band playing in no-nonsense bop style.

Christopher Bono’s ‘Nous III” is infused with such a long list of idiom influences – from post-rock and ambient to Neo-Shamanism and free jazz – that it defies classification.

Seth Walker’s new single “We Got This” reminds us that we’re going to come out of this, despite the fog of uncertainty we’ve been faced with for months now.

Bluey might owe much of his mannerisms to George Benson, but the Incognito linchpin’s main stock-in-trade has always been his grooves.

Like the rest of the Lickerish Quartet’s EP, “Bluebird’s Blues” is for the ages. A new song put together using time-honored values will never *sound* old.

Threadbare finds Jason Stein expanding the bass clarinet into more areas previously thought off limits to the instrument.

With ‘Brothers,’ released 10 years ago today, the blues-loving Black Keys began stirring in the influences of Tony Joe White, Creedence and Crazy Horse.

Across five tracks of varying length is a showcase not just for the finesse of Sabir Mateen, Patrick Holmes and Federico Ughi but also the ingenuity and diverse talents of Mateen himself.

Whit Dickey has been an understated but sturdy and vital figure on New York City’s Downtown scene for the last 30 years.