Bennie Maupin went solo 45 years ago this month, taking concepts (and players) from his time with Herbie Hancock – but using a far different approach.

Can both transcendental and earthly jazz coexist on the same record? With ‘In the Key of the Universe,’ Joey DeFrancesco answers with an emphatic ‘yes.’

The enthusiasm that Jeff Cosgrove, Matthew Shipp and William Parker invest in pushing jazz into sweet freedom shines through on ‘Near Disaster.’

The supremely creative ‘Sun of Goldfinger’ is unlike anything else out there – apart from other David Torn records.

10 years ago this week, Joe Bonamassa discovered the perfect balance between his penchant for blues covers and ’70s-style hard rock.

The deep soul of ’60s organ jazz is at the heart of Nick Hempton’s latest venture.

‘Circuits’ is another directional change for the supremely talented Chris Potter, but with the same high mark of accomplishment and ingenuity that’s found on nearly all of his recordings.

Nate Wooley finds insight for his music from a glacial landscape and, like its namesake, his own ‘Columbia Icefield’ is far out and expansive.

Performances like these are often called “spontaneous compositions” but in the case of Dave Rempis’ Kuzu, they’re often spontaneous combustions.

Avant-garde but never off putting, Anton Eger’s ‘Æ’ is a weird record, but weird in a great way.