Traffic’s albums are presented in their original packaging and sport the iconic pink U.K. Island Records label. Unfortunately, they forgot a key element.

‘Ride a Rock Horse’ managed a bit of a tougher edge, compared to Roger Daltrey’s self-titled debut effort from 1973.

‘Confabulations’ wasn’t made with the public in mind, and that might be why this makes such a great entry point for the avant-garde side of Duck Baker.

It’s unclear why “You Can Be Saved” wasn’t finished for ‘Tormato’ or some future project, but such speculation is the joy of being a Yes fan.

Patrick Ames’ ‘The Virtualistics’ encompasses the good and bad of the pandemic, but the overriding message is hope.

On ‘Telepathy,’ long-established veterans Denny Zeitlin and George Marsh act like young upstarts, showing the jazz world a fresh new approach.

Joe Bailey joins Preston Frazier to discuss the U.K.-based prog-rocker’s new solo project, his creative process and plans for another Dark Monarchy album.

Closing ‘Night and Day: Big Band’ triumphantly, “Take the ‘A’ Train” makes me wish Chicago had included more big-band covers on their earlier albums.

With ‘Love Life Choices,’ Rebecca Angel’s sense of self and individuality shine like a veteran.

As Anthony Braxton continues to push forward one of America’s greatest art forms, he also takes opportunities to demonstrate just how jazz got to be so great.