I did not know Chuck Berry was a black man until he stepped on that Des Moines stage.

Describing ‘GRID’ as “guttural” is a modest way to put it, but scary music created on the fly has rarely sounded so sweet.

‘The Garden of Earthly Delights’ celebrates Hieronymus Bosch, whose surreal paintings seem to give John Zorn’s Simulacrum permission to follow similar patterns.

The official release of Leviathan’s one and only album on Elektra Records has been a long time coming – in fact, some 47 years.

Haskins’ capacity for blending cutting-edge, high-tech means of music making with the handmade, organically conceived method of playing jazz borders on the genius level, and that’s just what he is going for with ‘Gnosis.’

Ex-Wings guitarist Laurence Juber strips down Beatles tracks to their barest elements, exploring critical elements and captivating listeners.

Conceived as it was played, ‘Vessel In Orbit’ is unpredictable, melodic and has form built around emotion not formal structures. When it’s done by such elastic artists like Dickey, Shipp and Maneri, it all comes together beautifully.

Chicago-based finger-style guitarist Adam Steffeck’s ‘Aviator’ is cinematic in scale, bold in concept and brilliant in execution.

Ted Milton’s work with Blurt has been branded “jazz,” “post-punk,” “dance” and “experimental,” but there isn’t a pencil-pusher name to define an act like this.

“It Won’t Be Long” once again demonstrates the Beatles’ willingness to stretch the boundaries of conventional pop-song structures.