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Featuring Anat Cohen on clarinet and saxophones, the Anzic Orchestra -- a jazz band with a cello section -- blows away the Kennedy Center crowd at the 2009 Mary Lou Williams Women in Jazz Festival. Competition winner Hailey Niswanger opens.

The Roots bandleader and Renaissance man has a new book called Creative Quest, in which he advises readers on how to consider creativity, how to pursue it and how to channel it.

Prepare your face to assume and remain in the stank position. It's about to get funky.

In his autobiography, Siren Song, Stein writes about how he started out in the music business as a teen before going on to sign groundbreaking artists like Talking Heads, Madonna, Ice-T and k.d. lang.

Here is the first of three stories highlighting a cross-section of some of the incredible bass players to have come out of Philly.

In 1984, the mockumentary This Is Spinal Tap satirized heavy metal bands. Now the characters are back for a sequel, Spinal Tap II. Reiner says "they have grown neither emotionally or musically."

Two kinds of people consume Christmas music: those who actually like the stuff, and folks who need something listenable on hand in case seasonal visitors insist on some ornamental mood music. For both groups, two new jazz brass albums should do the trick. Critic Kevin Whitehead reviews.

He grew up with John Coltrane, gigged with Art Blakey and shared the silver screen with Tom Hanks. Now, on the eve of 80, illustrious saxophonist and jazz composer Benny Golson is re-creating his greatest ensemble: the six-person Jazztet.

Bud Powell was one of the great jazz innovators. He transferred many of Charlie Parker's pieces to the piano by playing speedy single-note lines with his right hand. Powell's innovative technique is displayed on these albums, which feature Sonny Rollins, Max Roach, and Fats Navarro.

Rock music may give the electric guitar fire, but avant-garde jazz musicians often re-think the instrument beyond its basic, melody- and rhythm-based functions. Here are five musicians who eschew standard conventions and instead approach the guitar as a device of pure sound.