Musicians capable of anything deserve to play in a setting where anything goes. Thankfully, Tomas Fujiwara is allowing us to hear that with ‘March On.’

With ‘Recoil,’ Brad Henkel, Dustin Carlson and Samuel Hall set out and succeeded in making a freeform record that’s not just uncommon, but uncommonly good.

After a seven-year gap, Mike Keneally did thankfully resume answering his main calling in making adventurously catchy records, and ‘The Thing That Knowledge Can’t Eat’ shows no loss of mojo for him.

On ‘Triptych I, II & III,’ Ivo Perelman and Matthew Shipp never, ever wander aimlessly trying to figure out what to play next. It all comes out naturally and it comes in the form of actual melodies, even if those melodies are constantly shifting and mutating.

Released 55 years ago this month, the self-titled debut by Yes stalwart Steve Howe’s old band Tomorrow is one of the best of its psychedelic kind.

Tomas Alfredson’s ‘Let the Right One In’ reimagines a modern vampire fable with great acting, endearing characters, and a contrapuntally hopeful score.

Prog Collective’s ‘Seeking Peace’ wobbles and rolls through melodic twists and turns, avoiding many of the current cliches of neo-progressive rock.

Not many knew about Simon Moullier a mere three years ago but with his third outing ‘Isla,’ there’s simply no excuse not to. He’s the vibraphonist you will want to keep on your radar.

The late Chick Corea was a musical chameleon who thrived in a multitude of musical assemblages, as heard on the new ‘Montreux Years’ anthology.

John M. Gouldin breaks down five less-heralded albums Yes released between 1996-2001, concluding with Jon Anderson’s swan song ‘Magnification.’