Now on its ninth album ‘Sleeping Cat,’ Natsuki Tamura’s Gato Libre has never really been about jazz; it’s folk music with an open mind.

Tim Berne’s Decay quartet was good enough to beg the question of why hadn’t they made a record from their time together. Now, that question needn’t be asked anymore.

Like the cello trailblazers before him, George Crotty shows us the vast potential of his instrument, and he applies that potential globally while making it sound great for his Trio’s second album ‘Chronotope.’

The new and stimulating all-woman collective Esthesis Quartet has quickly established a signature sound that’s as pleasing as it is intrepid.

Kirk Knuffke has long been called a rising-star cornet player but ‘Gravity Without Airs’ is not the work of an ascending artist but a completely developed musician.

Preston Frazier’s Best of 2022 (So Far) includes records from Ben Craven, Mark Wade Trio, Joe Bailey and others.

Whit Dickey’s deep trust in his bandmates and himself was greatly rewarded for his highly improvisational quartet outing ‘Astral Long Form: Staircase in Space.’

‘Shine Thru’ presents Dan Schnelle as not just a fine drummer but a complete artist who already has it all figured out.

The triumph of Anthony Fung’s ‘What Does It Mean to Be Free’ comes from distilling all of his bountiful ideas into an articulate and unified set of works.

Preston Frazier discusses the new album ‘Precarious Towers’ with Johannes Wallmann, who we last spoke with about 2018’s terrific ‘Love Wins.’