‘Circuits’ is another directional change for the supremely talented Chris Potter, but with the same high mark of accomplishment and ingenuity that’s found on nearly all of his recordings.

Avant-garde but never off putting, Anton Eger’s ‘Æ’ is a weird record, but weird in a great way.

‘New York United’ is a balance between the unpredictable and the mulled over, between live performance and dreamy, electronic production values.

Jeff Ballard moves further away from mainstream jazz, while keeping himself challenged on the drums.

What’s still amazing, 20 years later, is that Mike Keneally’s “Draconian Blump” doesn’t feature a bunch of seasoned musicians – rather than just one.

James Brandon Lewis summons the ghosts of Ornette Coleman and Charlie Haden to inspire him to think differently about his art.

There’s a record for every corner of fusion, from minimalism to funk-jazz to jam band, on S. Victor Aaron’s final Best of 2018 list.

Preston Frazier’s Best of 2018 list includes a broad array of sounds and genres from familiar names and legends in the making.

Adam Hopkins is one of the few talents with the vision to make jazz directed at the current and future generations, not the past ones.

Fifty years ago, Herbie Hancock paused to have a little cartoon-related fun. And when Herbie is having fun, his listeners usually are, too.