Otis Taylor’s “Cold at Midnight,” a white-knuckle ride into the very heart of worry, advances the forthcoming ‘Hey Joe Opus / Red Meat.’

A confession: I never fully appreciated the overpraised ‘Yankee Hotel Foxtrot,’ released by Wilco this week in 2002. Not until much later, anyway.

Cyrus Chestnut doesn’t supercede the definitive take by Bill Evans’ Trio. Still, I found myself enjoying the new corners he and his trio explored.

There’s often been a touch of punk attitude in Danko Jones’ music, but ‘Fire Music’ seems to focus more intently on that part of their musical DNA.

The Rolling Stones’ ‘Sticky Fingers,’ released on April 23, 1971, might just be better – shhhhh! – than the far-more-heralded album that followed it.

A highlight of ‘Ultimate Sinatra,’ everything is in place on Frank Sinatra’s Count Basie collaboration “Best is Yet to Come.” And then it surprises you.

Robert Randolph helps set a new standard for improv gospel-jazz country blues supergroups. Because, yeah, they’re the only one.

Gavin Harrison’s ‘Cheating the Polygraph’ references Porcupine Tree and big band, but quickly moves well beyond those well-worn tropes.

Credit David Bowie for understanding how to cast his latest iteration. But also Chic for having the goods to make that nascent vision a reality.

If this terrific collaboration between Dutch jazz heavies is ‘The New Wave of Dutch Heavy Jazz,’ then let the waves roll over us.