Jan Garbarek would continue to produce great records for ECM in the years and even decades that followed, but there won’t ever be another ‘Triptykon.’

Is this jazz? Is this rock? Is this “progressive” – and if so, what does that mean? Tobin Mueller and Kansas lead us back into an age-old discussion.

Jon Symon’s Warlock proved over three criminally under-appreciated early-’80s albums that Claude Debussy was right when he said “music is the space between notes.”

Hal Galper’s ‘Ivory Forest Redux’ easily justifies the decision to polish up these recordings and take them back out of obscurity. Artists well-known and should be better-known all shine on it.

Appealing to lovers of ‘No Smoke Without Fire’-era Wishbone Ash, Snakecharmer produced plenty of twin-guitar ecstasy during their short tenure.

A remix reminds us why classic LPs like Pink Floyd’s ‘Animals’ – which burned prog-rock fire in the midst of a punk explosion – still deserve our attention.

Bethlehem Asylum’s two early-’70s Ampex albums offer a wonderfully weird look back into the musical mayhem once found in hip record-store racks.

Gentle Giant said a too-early goodbye with ‘Civilian,’ a tightly wound album which tried to acclimatize their sound to the new wave of British rock.

‘Genesis of Genius: The Contemporary Albums’ might not be as ‘legendary’ as what soon followed, but this is where the legend of Ornette Coleman begins.

‘Tattoo You’ could easily be called the Rolling Stones’ last really good album of original material, given that ‘Blue and Lonesome’ was a covers project.