The disparate artistry of Will Bernard comes into sharper focus on ‘Pond Life’ because he pulls all those threads together into one tidy package.

Sonny Landreth’s terrific solo re-introduction arrived 30 years ago this month, deftly sidestepping several pitfalls associated with guitar-sideman records.

The new Charm of Finches album ‘Wonderful Oblivion’ is a delightful kite that floats in the airy beauty of folk chamber music, caressing melodic breezes.

Steve Million’s expressive playing is always a joy, but what’s particularly noteworthy is how well it serves his compositions.

This is the video premiere of “Bethema” from klezmer jazz ensemble Queen Kong’s upcoming album ‘Fray.’

Released 30 years ago today, ‘Revenge’ is the one non-makeup Kiss record that belongs in the conversation with their best work.

All that hype surrounding a child who plays a sophisticated music form like an old veteran is real, but now that Joey Alexander is no longer child and finding his own identity, the hype feels even more real than before with the all-originals ‘Origin.’

Times have changed but in adapting to it on ‘I Hope I Know,’ Seth Walker shows that his mastery of Americana music is just as it was during the ‘old’ times.

Gloryhammer’s Sozos Michael is probably better from a technical standpoint than Thomas Winkler. But the better technical singer is not always a better fit.

Brandon Seabrook never undertakes paths chosen by others, but rarely has he had such willing and able partners in crime to carry out his scintillating eccentricities as Gerald Clever and Cooper-Moore.