[A] I've written about three GOAT albums (all favorable, and well before your mail), one by The Black Angels (favorable, from 2010), and two by Kali Malone (once before, once after, neither glowing). The "Google Search" form should be able to find you the reviews. I can't say as I remember anything beyond the names at this point.

[A] I wasn't aware that there were any, but when I checked, there were a couple unchecked items in the "shopping list" database, and a couple more I hadn't noted. I started streaming around 2008, and that radically reduced the cost of trying things out, especially things that seemed iffy. I disliked Wilson's 1988 album, and since then only Presents Smile (2004) won any sort of critical favor. Still, Wilson had special significance for me. That I ever became a rock critic was mostly due to Don Malcolm, who was a huge Wilson fan. Tom Smucker, who wrote Why the Beach Boys Matter is also a personal friend, and he matters too. So I went back and checked on a couple of missing items, but they weren't very good, and my records are still incomplete. Enough for now. But back in 2013, I did go back for the Beach Boys' early albums (pre-Pet Sounds), which I knew and (mostly) loved from singles and compilations, most notably the canonical 2-LP (later 1-CD) Endless Summer.

PS: I got another one from this person: "I would love to see your reviews and gradings of the Deep Purple albums you own." That one's easy. That doesn't guarantee that I never heard any -- as I recall, many friends from the early 1970s had one or two of their albums, but nobody I knew played them, and in my pre-critic days, I never saw the point. And when I did, and my aims became more encyclopedic, I had more promising avenues for my time. I still do.

[A] Aside from some major rhythm masters, I've never been much into solo piano, although I'm pretty sure that I have A-listed a couple dozen exceptions over the years, including Jarrett's The Köln Concert, his big commercial breakthrough from 1975. Even there, I'm pretty sure that I was never got into the original 1.5-LP set I had, only warming to it when I got the whole thing in one straight shot on CD. Even if the five Sun Bear Concerts were as good as the one in Köln, that's a lot of work for variations I'm unlikely to appreciate anyway. I did go back recently and listen to 1973's Bremen/Lausanne, and it's also real good. And I've heard a fair number of later solo albums, all more/less good, none great enough to really single out. Streaming Sun Bear Concerts is probably possible (some big chunks are also on YouTube, but unless I get some reason to go completist, it's just too much for me.

If you're excited by solo piano, you may find The Penguin Guide to be especially useful, as Morton and/or Cook are totally besotted by the stuff. I find they're pretty dependable for sorting among solo piano albums, even if I think they overvalue them in general.

PS: I did play the YouTube link above, and it's really good, without being a retread of The Köln Concert.

[A] I, too, was taken aback the first time I read a rave about major Brecker was. I forget where, but this quote from Stuart Nicholson's 1990 book, Jazz: The 1980s Resurgence, gives you the flavor, naming Brecker as "the most influential saxophonist since John Coltrane," and adding that "any aspiring saxophonist was forced to take account of his tone, technique, energy and his harmonic methodology." I don't have the technical skills or interest to weigh in on half of that, but after going back for a refresher on several albums I had missed, the other half strikes me as good but not really exceptional. If I had to play a ratings game, I'd say that among somewhat similar players his peak performances would rate above Bob Mintzer, but below Chris Potter.

Two of Brecker's better albums are Time Is of the Essence (1998) and Pilgrimage (2006) -- I have them both at B+(**). I don't recommend anything by the Brecker Bros., although "Heavy Metal Be-Bop" and "Some Skunk Funk" appealed to me as concepts. He did a huge amount of studio work, and has side credits on some good-to-great rock and soul (James Brown, John Lennon, Paul Simon, Carly Simon, Steely Dan, Parliament/Funkadelic, Chaka Khan, Lou Reed, Billy Joel, Joni Mitchell, Manu Dibango, Aerosmith, Bruce Springsteen, Blue Oyster Cult, Average White Band, Chic, Garland Jeffreys, Luther Vandross, the list goes on and on, even includes Willie Nelson and Andreas Vollenweider). Also looks like he played on 50+ other jazz albums -- probably some good records in there somewhere, but not much jumps out at me. (He did one with Mintzer called Twin Tenors, but I haven't heard it.)

PS: I've generally found that anyone who has a huge reputation deserves at least some of it, on some level, if you give them a fair chance. Sure, there are styles, or maybe just quirks, that one dislikes so much no such effort is possible, but it's easy to understand that as your problem, no reflection on the musician. I'm also aware that I tend to react skeptically to exorbitant hype. Charlie Parker was one case that took me a long time to reconcile, but in the end, I could point to examples that both explain the hype and confirm my skepticism.

But Brecker isn't a case like that. No doubt he's technically a good tenor saxophonist, and I'm inclined to grant that he's reliable even when the music around him isn't up to snuff (which is way too often). To understand this better, you'll have to look at who's hyping him, and try to figure out why. I recognize that there are some examples of people making extravagant claims for Brecker, but the first point to make here is that there aren't many people doing so. Penguin Guide, for instance, gives him a lot of 3-stars, but no 4-stars. Parker worship, on the other hand, is almost universal.