Fifty years on, Patrice Rushen’s ‘Prelusion’ continues to be more than some artifact of its time, it’s the auspicious introduction of a precocious, enormous talent

Starting with his 2014 big label debut ‘Rising Son,’ Takuya Kuroda preserved the integrity of jazz as he stretches far beyond its tradition to make it embraceable for newer generations.

‘SPIN’ continues Nik Bärtsch’s ritualistic groove safari, keeping it familiar but incremental enough to delight even longtime listeners

Here is the video premiere of “Himalayan Dial-Up” by the guitar/drums duo of Angell & Crane.

Through the thirteen short tracks of ‘Variations,’ Daivd Cain takes us through a safari of sounds and styles, tied together by a single theme.

A band that pairs a Fender Rhodes player with a pianist and no bass perhaps shouldn’t work, but with sheer flair that not only overcome that challenge, Kira Kira utterly thrives in it.

The Necks’ ‘Bleed’ is briefer but there remains plenty of time to insert many small intriguing new twists into their incomparable brand of modern, minimalist music.

Narada Michael Walden’s music and that of the artists he works with varies intriguingly from genre to genre. So do the albums that shaped his career.

Henry Hey and Forq continue a tradition of engaging, amazing and confounding listeners with their fifth studio release, ‘Big Party.’

Released 55 years ago today, ‘In a Silent Way’ is the demarcation line between Miles Davis’ straight-jazz era and the electric jazz-rock fusion to come.