‘Dog Days of Summer’ might be called “jazz-rock,” but like anything else Satoko Fujii undertakes, she does jazz-rock on her own, uncompromising terms.

Jason Stein has made many very good records before, but in reaching deep inside himself, he came forth with a truly great one with ‘Anchors.’

With ‘Breaking Stretch,’ Patricia Brennan continues to build upon her uniquely inventive style of jazz simply by building up her ensemble.

Pat Metheny’s creative use of the baritone guitar makes ‘MoonDial’ so meaningful and softly gratifying

Jazz pianist and composer Luther Allison makes his first splash as a leader with his introductory, Memphis Mafia-inspired album ‘I Owe It All to You.’

Nothing brings out the true character of virtuosic musicians Aruán Ortiz and Ramón López like the ‘Ephemeral Shapes’ improvisation sessions with Ivo Perelman.

In many ways, Phillip Golub’s astounding debut ‘Abiding Memory’ evokes the budding genius of early Vijay Iyer.

As an advanced bassist and composer, Kim Cass with his star colleagues meet his challenges head-on, making ‘Levs’ such a breathtaking ride.

‘Live at the 188 Club’ from Aurora Nealand, Mark Helias and Tim Berne underscore the three-way interplay between sax, accordion and bass, and proves the concept works nicely when the right musicians are executing it.

‘Old Main Chapel’ is a fitting epilogue in the rich, under-heralded output from the gently poignant brilliance of Ron Miles.