Bill Frisell is never more Bill than when it’s only Bill, and no one else. ‘Music IS’ features only Frisell’s music, as his deftly looped samples become a second instrument.

A terrific addition to Lance Lopez’s catalog, ‘Tell the Truth’ boasts an assessable combination of excellent guitar playing, strong vocals and deft production.

Hopscotching between the psychedelic garage rock of 1967 and the power pop of 1977, the Lemon Clocks remind us why those musical eras were so special.

‘Oneness’ means a singular mind driving two instruments into a spiritual musical communion.

Procol Harum’s ‘A Salty Dog’ was a lot to digest, yet there is no question the album remains a noble artistic statement.

Activist-filmmaker Matthew Cooke’s new documentary ‘Survivors Guide to Prison’ is about more than the rudiments of making it on the inside.

Tim Kuhl’s journey from a jazz drummer to a creator of experimental electronica rock is not a road much traveled.

Like the Beatles’ other covers, Larry Williams’ “Bad Boy” reveals their roots: In this case, rhythm and blues.

With the singularly outsized saxophone and clarinet personality of Mat Walerian in the mix for ‘Sonic Fiction,’ Matthew Shipp has found a plenty good justification for going back to a quartet.

‘Zero’ is another one of those ‘pure’ Matthew Shipp solo piano records where there’s nothing in between the depths of his soul and your ears.