‘Dog Days of Summer’ might be called “jazz-rock,” but like anything else Satoko Fujii undertakes, she does jazz-rock on her own, uncompromising terms.

Jason Stein has made many very good records before, but in reaching deep inside himself, he came forth with a truly great one with ‘Anchors.’

‘Live in Someplace Nice’ is a welcome addition to the thin catalog of the short-lived endlessly inventive duo of Tim Berne and Bill Frisell.

With ‘Breaking Stretch,’ Patricia Brennan continues to build upon her uniquely inventive style of jazz simply by building up her ensemble.

With ‘Zealous Angles,’ Matt Mitchell blows a gaping hole into the notion that the piano/bass/drums construct in jazz has been played out.

The Knack began a career-souring six-week run atop the charts 45 years ago this week with “My Sharona.” A terrific deep cut got lost along the way.

Pat Metheny’s creative use of the baritone guitar makes ‘MoonDial’ so meaningful and softly gratifying

Released 55 years ago today, ‘In a Silent Way’ is the demarcation line between Miles Davis’ straight-jazz era and the electric jazz-rock fusion to come.

Jazz pianist and composer Luther Allison makes his first splash as a leader with his introductory, Memphis Mafia-inspired album ‘I Owe It All to You.’

Nothing brings out the true character of virtuosic musicians Aruán Ortiz and Ramón López like the ‘Ephemeral Shapes’ improvisation sessions with Ivo Perelman.