The final evening of their 2003 summer tour found the Allman Brothers planning a special night on the friendly turf of Raleigh, NC, wrapping up yet another road trip with invitations to Susan Tedeschi, Karl Denson, and truly serious jazzbo Branford Marsalis to join the group on-stage. It was all captured by the state-of-the-digital-arts folks at Instant Live, who burn CDs of the shows and make them available to concertgoers who still have a few extra green ones in their pockets by evening's end. On the sprawling three-CD set documenting these particular proceedings, there is indeed some fine music, although in his Allmans premiere appearance Marsalis doesn't fare as well as jam band-friendly Denson; the sax-blowing Marsalis brother (heard on "Dreams" and "Whipping Post") seems shoehorned between the guitars and strains a bit over the loud rock groove.

And how! Austin tackles standards such as "Smoke Gets in Your Eyes" and "They Can't Take That Away from Me," and succeeds brilliantly. Her version of Comden, Green, and Bernstein's "I Can Cook, Too" is enough by itself to make this a pick.

Though he never really slowed down at any point, Neil Young stayed on an especially prolific streak as the 2010s bled into the 2020s. In addition to a steady rollout of archival material, official versions of long-bootlegged shows, and other miscellanea, Neil has produced albums of entirely new material at a rate unmatched by most artists in his age bracket who have been at it for as long as he has. World Record follows quickly behind the mellow rocking of 2021's Barn, and again finds Young ably backed by his longest-running comrades, Crazy Horse. This time around, however, the band worked with producer Rick Rubin, capturing everything live in the studio and sticking to an analog-heavy recording process. World Record is an album built of unlikely combinations that somehow work.

Hey Clockface arrived quickly on the heels of Look Now, but where that 2018 album seemed constructed as classicist Elvis Costello, drawing upon his strengths as a melodicist and the muscle of his regular backing band the Imposters, this 2020 affair feels as if it was designed to surprise. It comes into focus quite slowly, with reeds and strings murmuring in a quiet drone before Costello launches into the spoken word of "Revolution #49." The spell is broken in a flurry of gnarled guitars that usher in "No Flag," a transition that establishes how Hey Clockface doesn't follow any particular path. Apart from the slight emphasis on poetry – it surfaces again toward the end of the album on "Radio Is Everything," a track destined to be played in the dead hours of a starless night – none of the twists on the album are necessarily a new trick from Costello, but the its execution makes every new turn feel slightly surprising, occasionally jarring.

Released as part of the Doors' celebration of their 50th anniversary, The Singles may at first glance seem to cover familiar ground as, in essence, it's another greatest-hits collection in a discography littered with compilations. Look closer, and the differences are immediately apparent. Designed as a clearinghouse for every single the band ever released, The Singles does indeed take its mission seriously, containing the A- and B-sides of such classic 45s as "Break on Through (To the Other Side), "Light My Fire," "Love Me Two Times," "Hello, I Love You," and "Riders on the Storm" but also not stopping the band's story with the death of Jim Morrison, which is a first for any Doors hits set. The second disc contains the five singles culled from the Morrison-less Other Voices and Full Circle, plus the lone 45 pulled from 1979's An American Prayer…

On Suitcase, his eighth studio release, Keb' Mo' (Kevin Moore) reunites with John Porter, the producer of Moore's critically lauded first album, and the result is a pleasant, midtempo suite of songs dedicated to the emotional baggage everyone carries with them as they plow through increasingly complicated lives in search of peace, love, and some measure of personal redemption. Moore covers this ground with a wink and a grin in his voice, though, and Suitcase emerges as a wry commentary on modern life that still manages to sound bright and positive, beginning with the effervescent, sprung reggae rhythm of the opening track, "Your Love," one of the best cuts here. Other highlights include the lovely ballad, "Still There for Me," a celebration of the little man and his private victories, "I'm a Hero," and the soothing, hopeful shuffle that closes things out, "Life Is Beautiful"…

It's not the first time guitarist Alex Machacek has composed around drum improvisation—he did that with three tracks on [sic], his 2006 breakout record and first for Abstract Logix—but he's taken the concept even farther on 24 Tales. It's also not the only release to use, as its basis, a 51-minute drum improvisation by Marco Minneman—Machacek's band mate in keyboardist/violinist Eddie Jobson's Ukz, which debuted in 2009 with the Radiation (Globe Music) EP. Guitarist Mike Keneally, touch guitarist Trey Gunn, and Mars Hollow bassist/guitarist Kerry Chicoine were all given Minneman's metrically and polyrhythmically challenging solo as part of the drummer's Normalizer 2 project as well, but 24 Tales sets the bar incredibly high for everyone else; a true fusion masterpiece that actually surpasses [sic]'s remarkably deep composition and stunning performance.

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.

One of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of Modest Mussorgsky and knew nothing of Russia's Nationalist "Five." It does some violence to Mussorgsky, but Pictures at an Exhibition is also the most energetic and well-realized live release in Emerson, Lake & Palmer's catalog, and it makes a fairly compelling case for adapting classical pieces in this way. At the time, it introduced "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. The early-'70s live sound is a little crude by today's standards, but the tightness of the playing (Carl Palmer is especially good) makes up for any sonic inadequacies…

Following four years after The Drop, Drawn From Life sees Brian Eno collaborating with German DJ J. Peter Schwalm. (Music for Onmyo-Ji, a previous Eno/Schwalm work from 2000, was released in Japan only.) Those who soured at the distant crispness of The Drop will find this to be a more inviting listen, even more so than Eno's 1996 collaboration with bassist Jah Wobble on Spinner. Jazzy, shuffling rhythms and strings that sway from cutting to sighing lay the foundation of most of the tracks, with some repetitive nonmusical effects often falling somewhere in the mix. If there is a fault of the record, it's that the vocals often get in the way of some fine background listening. If you don't have an affinity for Laurie Anderson's voice, you might be troubled that "Like Pictures, Pt. 2," which otherwise happens to be one of the record's most melodic and tranquil tracks, is interrupted by her intonations…