We’re celebrating the late George Harrison’s birthday by revisiting some signature moments with collaborators from his post-Beatles years.

Aram Bajakian consistently finds inspiration for his music from places few or no one else thinks to look. This time, he’s making a new soundtrack for an old, classic film made in the former Soviet Union, and here is a second advance taste of this project.

Robben Ford’s new song is loose, truly collaborative — the opposite of those emailed digital confections so often dubbed “duets” these days.

‘Introducing Katie Thiroux’ could have been a sterling vocal showcase, or an intriguing intrumental project. Luckily for us, it ends up being both.

John Oates struggles to select a single Hall and Oates moment, finally settling on three from a career marked as much by diversity as longevity.

Here is a review of an expanded reissue of the 1974 recording ‘Trio And Duet,’ exploring two sides of avant-garde great Anthony Braxton.

The opening cut on Toto’s 1978 self-titled debut set the stage musically. All that remained was to bring Bobby Kimball on for his first vocal turn.

Decades later, the Monkees’ Micky Dolenz says “I’m always amazed that people, even real fans of the show, missed that dynamic.”

Death Cab for Cutie show here that they know where they’ve been, but also a determination to carry that experience into vibrant new places.

Call this the Sincerest Form of Flattery Part 2, as we explore those times when artists copied a style so convincingly that it took on its own substance.