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.

“Rock Lobster” arrived 45 years ago today on the B-52’s debut, with a zany approach that softened the defenses of even the most stubborn music snob.

As an advanced bassist and composer, Kim Cass with his star colleagues meet his challenges head-on, making ‘Levs’ such a breathtaking ride.

Soft Machine’s peak roster playing at peak performance is reason enough to plunk down for ‘Høvikodden 1971’ if this boundary-pushing style of jazz-rock is your thing.

‘Live at the 188 Club’ from Aurora Nealand, Mark Helias and Tim Berne underscore the three-way interplay between sax, accordion and bass, and proves the concept works nicely when the right musicians are executing it.