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Wainwright and his many guests pile on the gravitas while still digging into the Bard's material with playful and provocative spirits.

The popular jazz singer follows a familiar pattern on his new album: It's acoustic, unconcerned with fashion or complexity, and both overpowering and soothing. That's a good thing.

It's but a standard warhorse, plucked from a seemingly random live date in 1978. But once she initiates the finale sequence, you can only shake your head and smile.

To the extent that Snarky Puppy has a core sonic idea, it's an intricate melody over a multifaceted groove, as generated by multiple horn players, guitarists, keyboardists and percussionists.

The guitarist's custom seven-string axe lets him create a deeply funky bass line and a Hendrix-like melody — at the same time.

An American black-music take on the Balkan brass band does a bit of Ellington/Strayhorn exotica. It totally works in spite of, or maybe because of, the multiple dialects at play.

For a "jazz" song, there's not a ton of extended solo improvisation. But sometimes a great melody deserves a whole song to express itself, as in this instrumental cover of the band Wye Oak.

The first-ever gig of the most influential jazz big band of the last 50 years has emerged. It lays complex arrangements over simple blues forms. It also swings like crazy.

The young British composer's playful pieces split the difference between art-pop and electric minimalism, and her new video adds to the grid-like, artsy fun.

Founded in 2014, this vibrant, new choral group juxtaposes William Byrd's Renaissance classic with newly commissioned inspirations.