Let's put the hook in right from the jump: Echoes of Indiana Avenue is perhaps the most significant release of previously unissued material by a major jazz artist since the The Thelonious Monk Quartet with John Coltrane: At Carnegie Hall appeared in 2005. That's not hyperbole. These tapes, which consist of two live recordings and one studio demo, were cut, presumably, between 1957 and 1958, with various groupings of musicians, including his brothers Monk and Buddy, as well as pianist Earl Van Riper and bassist Mingo Jones. All of the tunes here are now regarded as standards, but some were current then, freshly added in that era, such as Shorty Rogers' Diablo's Dance, Horace Silver's Nica's Dream, and perhaps most importantly, Thelonious Monk's 'Round Midnight and Straight No Chaser. The former, recorded in an organ trio format with Melvin Rhyne on the B-3 and Paul Parker on drums, reveals, even at this early date, how well-developed Montgomery's improvisational language was. His reverent opening is ever so gradually replaced by a shimmering movement toward something approaching early soul-jazz, yet his ability to use the instrument's tonal subtleties and harmonic possibilities add a very different dimension to its harmonic architecture. (And while he recorded it several times during his all-too-brief life, this version is the earliest one we now have of him.) The hard swinging Take the 'A' Train showcases the already distinctive and innovative voicings on the bass strings Montgomery developed. These examples aside, there isn't a weak or middling moment throughout the proceedings. At this early date as a leader, Montgomery was in command, pushing hard at the Charlie Christian-isms that dominated his playing with Lionel Hampton. Sound quality can be a tiny bit rough in places, but it hardly matters when the material is this fine. ~ Thom Jurek, Rovi

After a 20-year hiatus, original lead singer and songwriter David Nelson has put together a new version of the New Riders of the Purple Sage. (New New Riders of the Purple Sage?) Longtime NRPS pedal steel player Buddy Cage joins Nelson for this outing and takes the majority of the solos, adding plenty of feeling to the band's cosmic country meets Grateful Dead sound. Longtime Grateful Dead lyricist Robert Hunter contributes words to seven of the album's 12 tracks, bringing his customary psychedelic sheen to the material. Nelson's familiar high tenor sounds a little gruffer these days, but it's still a beautiful instrument and brings plenty of understated emotion to the music. He's always had a gift for crafting fine melodies and hooks that stick in your mind after a single listen, so it's no surprise that a bunch of these new tunes are as good as anything NRPS have given to us in the past. Fivio is a triumphant love song that's a reinvention of the traditional Irish tune popularized by the Clancy Brothers and features Michael Falzarano's chiming guitar and sighing pedal steel by Cage. Suite at the Mission is a cryptic meditation on life's vicissitudes full of dark humor; it's marked by more sparkling pedal steel from Cage and a world-weary vocal from Nelson. The title track is a bluesy shuffle crammed with mind-bending images that compares favorably to the Dead classic Truckin'. It's one of the album's strongest songs and Nelson delivers it with a jaunty, insouciant air. ~ j. poet, Rovi

The Fugs sounded a little weary and burnt out on their final studio album of the 1960s. The psychedelic experimentation and orchestral arrangements of 1968's It Crawled into My Hand, Honest were ditched in favor of basic rock or even, at times, acoustic performances. The title track and Queen of the Nile are essentially Ed Sanders solo cuts, with acoustic guitar accompaniment by Dan Hamburg; Bum's Song is likewise pretty much a Tuli Kupferberg recording, with just his voice and Hamburg's guitar. The sexually and politically charged heart of the band continued to beat on songs like Chicago (originally written for the soundtrack of a Yippie movie about Chicago police riots at the 1968 Democratic Convention) and The Belle of Avenue A, about a quickie between a hippie and a truck driver. But the production and adrenaline levels are kind of flat. The country influence that was always present in Ed Sanders' singing and songwriting started to really flower on this LP, where his yodeling vocal style -- which was less than an acquired taste -- prefigured the country satire of his 1969 debut solo album, Sanders' Truckstop. It was up to Tuli Kupferberg to provide the record's highlight, the sincere ballad Flower Children. ~ Richie Unterberger, Rovi

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Beat Avenue is 60-year-old Eric Andersen's most ambitious album, a 90-minute tour de force that encapsulates his musical and lyrical concerns over a lifetime. The music is often-dense rock dominated by a rhythm section led by guitarist Eric Bazilian of the Hooters. Equally dense is Andersen's highly poetic versifying, which he sings in his gruff baritone. Andersen is world-weary in these songs, roaming the globe haunted by the past and fearful of the future. He confesses to a reckless youth, but acknowledges that he can no longer afford such license. What once was Charles Bukowski, he sings in Before Everything Changed, referring to the free-living beat poet, is now Emily Dickinson. The ballads and love songs Song of You and Me, Shape of a Broken Heart, Under the Shadows, and Still Looking for You are rendered tenderly, but they are also full of regret and loss, past-tense reflections that recount memories of love long gone. The first disc of Beat Avenue is complete and formidable unto itself, but there is a second CD consisting of two lengthy songs. The title track, running more than 26 minutes, is a beat poem with jazzy accompaniment by Robert Aaron in which Andersen recalls a poetry reading he attended as a 20-year-old on the day President Kennedy was assassinated. Beat writers such as Allen Ginsberg and Jack Kerouac come up in his reminiscence, along with friends and fellow musicians, as he conjures up the sound and feel of the early '60s in San Francisco and pinpoints a moment when history changed, revealing how it felt for one young observer. This isn't folk music of the type with which Andersen is generally associated, and it can be demanding of the listener, but it is also a compelling transformation of memory into art song. ~ William Ruhlmann, Rovi

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Avenue Q has not been authorized or approved in any manner by the Jim Henson Company or Sesame Workshop, which have no responsibility for its content, reads a disclaimer found, among other places, inside the CD booklet for the original Broadway cast album of Avenue Q. It's an important statement to keep in mind, because, in essence, the show, with songs by Robert Lopez and Jeff Marx, who are also credited with the original concept, asks what would happen if you crossed the children's television series Sesame Street with the gritty, urban Broadway musical Rent. Or, to put it more plainly, suppose all the puppets on Sesame Street had potty mouths? What if, for example, Bert and Ernie (or, as they are called here, Rod and Nicky [John Tartaglia and Rick Lyon]) were closeted gays (If You Were Gay)? What if Cookie Monster (sorry, Trekkie Monster [Rick Lyon again]) craved not baked goods, but pornography (The Internet Is for Porn)? And what if Miss Piggy's name was, instead, Lucy the Slut (Stephanie D'Abruzzo)? It's fair to say that the viewer and listener's reaction to Avenue Q will depend on a visceral response to the original concept of a hard R-rated version of Sesame Street. Is it a clever idea, or does it make you want to exclaim, as Kate Monster (Stephanie D'Abruzzo again) does during the show, Ewww! and That's gross!? The question is complicated by context. Like another heavily satirical show of the early 21st century, Urinetown, Avenue Q began off-Broadway (on March 19, 2003). But then it transferred to Broadway (on July 31, 2003). In an earlier day, such shows might have stayed off-Broadway, where audiences in search of edgy work would seek them out in small theaters in Greenwich Village. Instead, they now come uptown, where it's easy to mistake them for mainstream fare, especially when they win Tony Awards, as Avenue Q did for its score and book as well as an upset victory in the Best Musical category. After those accolades, the show's producers unexpectedly announced that Avenue Q would bypass a national tour in favor of a permanent production in Las Vegas, a decision that may have upset regional theaters, but probably saves many American children from inadvertently hearing a bunch of earnest, friendly looking, familiarly fuzzy puppets proclaim, Everyone's a Little Bit Racist. Avenue Q is for adult audiences. ~ William Ruhlmann, Rovi