Released 55 years ago, King Crimson’s ‘In the Court of the Crimson King’ offered a dark burst of seminal progressive rock that presupposed a new rock trend.

When Brandon Seabrook does a solo banjo and guitar project as he did with ‘Object of Unknown Function,’ there’s even more of his uniqueness to ponder, appreciate and – yes – enjoy.

‘The Data’ is some of Matthew Shipp’s most heartfelt and ardent of his solo piano albums, informed with a lifetime of jazz and classical studies behind it.

Henry Hey goes in depth with Preston Frazier on ‘Big Party,’ the latest album from his band Forq.

‘Conversance’ picks up where the Chris Greene Quartet left off with 2017’s ‘Boundary Issues,’ showcasing the arranging and playing talents of each band member.

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.

Mile Marker Zero’s ‘Coming of Age’ is a great modern progressive rock record that recalls the musical joys of another era.

Here is the world streaming premiere of “Avrils,” from alto saxophonist Michael Attias’ upcoming new album ‘Quartet Music Vol. II: Kardamon Fall.’

Dave Bainbridge may be the best progressive rock keyboardist that’s flown under your radar.

Long-time Guess Who frontman Burton Cummings’ new solo album ‘A Few Good Moments’ proves that Winnipeg’s favorite Northend son is still rockin.’