Brad Mehldau Trio, Ode (Nonesuch)

Mehldau has recorded lately as solo pianist, in duets with classical mezzo-soprano Anne Sofie Van Otter and with a large orchestra. Bassist Larry Grenadier and drummer Jeff Ballard join him in a stimulating return to trio playing. They are attuned to the pianist as if by ESP. He describes the title tune as “an ode to odes” and dedicates other pieces to figures in his personal and musical lives. Among those who inspired them are Michael Brecker, Kurt Rosenwinkel, the Jack Nicholson character George Hanson and Aquaman, but you needn’t know that to be moved by the virtuosity and joy of this music.

Mike Longo, To My Surprise: Trio + 2 (CAP

The trio is pianist Longo, bassist Bob Cranshaw and drummer Lewis Nash— a formidable New York rhythm section. With the addition on half the tracks of trumpeter Jimmy Owens and tenor saxophonist Lance Bryant, Longo takes the quintet through classic bop territory and beyond into modal country. If there were Oscars for Wilde titles, “A Picture of Dorian Mode,” would win. The adventurous playing on the track awards the listener. With trio or quartet, in standards or new Longo compositions, hard-charging or pensive, this is an album full of satisfactions, not least the lovely take on “In the Wee Small Hours” that ends it.

Thelonious Monk Live in France 1969 (Jazz Icons)

The video of Monk alone at the piano in a Paris studio is the jewel of the fifth Jazz Icons box set that many feared would not come. Taped with visual simplicity and excellent sound, he plays 12 pieces, all of them his compositions but “Don’t Blame Me” and a rollicking “Nice Work if You Can Get It.” Except for that exultant conclusion, the concert has an air of reflective, almost Brahmsian, gravity. His harmonies can be breathtaking. The bonuses—unedited documentary footage and an attempt to interview Monk—are curiosities. The music is essential.

Timme Rosenkrantz, Fradley Hamilton Garner, Harlem Jazz Adventures: A European Baron’s Memoir, 1934-1969

Timme Rosenkrantz (1911–1969) had royal Danish blood, but no royal pretensions, and when he came to the US in 1934, his garrulous charm made him fit right in. What attracted him here was jazz. He became a chronicler and friend of musicians from Louis Armstrong to Art Tatum to Lennie Tristano and dozens of others. He was a rounder and a storyteller, and he could write. His memoir, artfully edited by Fradley Garner, is a chronicle of three decades when New York was the center of the jazz universe and Rosenkrantz was swinging through it. Go here to see a video about Rosenkrantz and the book.

Toots Thielemans, Yesterday & Today (Out Of The Blue)

Two CDs with thirty-eight tracks, most previously unreleased, follow Thielemans from 1946, when he was a 23-year-old guitarist with a Belgian swing band, to a 2001 harmonica performance of “What A Wonderful World” with pianist Kenny Werner. In the late 1940s and early ‘50s, when many European musicians were struggling with the style, Thielemans had a firm grasp of bebop. Playing through the decades with George Shearing, Hank Jones, J.J. Johnson, Elis Regina, Mulgrew Miller, Shirley Horn and a few dozen others, Thielemans is astonishing on both instruments, but it’s his harmonica that brings grins of joy.

Mike Wofford/Holly Hofmann, Turn Signal (Capri)

Pianist Wofford’s and flutist Hofmann’s quintet set is notable for variety, rich textures and harmonies, and depth of feeling. In conception and sound, trumpeter Terell Stafford blends beautifully with them. Bassist Rob Thorsen and drummer Richard Sellers are strong and flexible in support. Among the highlights are Wofford’s “The Dipper,” a Horace Silver tribute that evokes Silver’s writing and playing; Stafford’s powerful solo on Jimmy Forrest’s “Soul Street;” Hofmann’s drive and headlong swing on her “M-Line;” and Wofford’s homage to Richard Twardzik in “The Girl From Greenland.” This is an album of enduring value.

Mathew Shipp, Elastic Aspects (Thirsty Ear)

The first track of the pianist’s album has no piano, just bassist Michael Bisio bowing and drummer Whit Dickey generating sepulchral sounds with mallets on cymbals. The second track is a few seconds of Shipp unaccompanied in what might be heard as late Debussy. With the third track, the trio is off and running with a kind pointillist post-bop, a suggestion of Bud Powell’s “Un Poco Loco,” lots of interaction and mutual improvisation. This being Shipp, however, a pattern has not been set. Throughout, whatever the listener may be expecting next is unlikely to be what happens—unless he is expecting surprises.

Lee Konitz with Dan Tepfer (Jazz Heaven)

Designed as a master class, the DVD provides fascinating listening and viewing for anyone curious about the creative process of making jazz. In conversation with his frequent collaborator, pianist Tepfer, Konitz discusses and demonstrates the wisdom he has accumulated in his nearly 85 years. In the hour-and-a-half conversation, he frequently picks up his alto saxophone to demonstrate a concept or a point and brings Tepfer into the spoken and played discussion. It is a Socratic dialogue, with the teacher and student occasionally reversing roles. An easily accessible menu makes browsing possible. The audio and video quality are superb.

Judth Schlesinger, The Insanity Hoax: Exposing the Myth of the Mad Genius (Shrinktunes)

With wit and a nice sense of irony, Schlesinger lays siege to the popular notion that to be truly creative, a person must be mentally unbalanced. A PhD psychologist and a jazz critic, Schlesinger discusses myths about Charlie Parker, Chet Baker and other jazz musicians but also about Balzac, Beethoven, William Blake and Gustav Mahler, among other geniuses presumed to have been insane to some degree. She is not reluctant to take on members of her own profession for perpetuating the myth. She may persuade you that “…creativity should be celebrated, not diagnosed.”

Jimmy Owens, The Monk Project (IPO)

In this Thelonious Monk tribute, trumpeter Owens’ septet includes pianist Kenny Barron, trombonist Wycliffe Gordon, tenor saxophonist Marcus Strickland and low-register specialist Howard Johnson on tuba and baritone sax. Kenny Davis is the bassist, Winard Harper the drummer. There are good solos throughout, but the stars of the album are Owens’ conceptions of the tunes, and his arrangements. He brings freshness through textures and tempos. Among the surprises: a Latin approach to “Well You Needn’t,” “Let’s Cool One” as a waltz and “Brilliant Corners” alternating between a crawl and a blues-inflected march

Jack DeJohnette, Sound Travels (e one)

DeJohnette leads small ensembles in seven of his compositions. He plays both drums and piano on several. His sidepersons include Ambrose Akinmusire, Tim Ries, Jason Moran, Lionel Loueke, percussionist Luisito Quintero and vocalists Bobby McFerrin, Bruce Hornsby and Esperanza Spaulding. Spaulding also plays bass. The personnel list may suggest random eclecticism, but within its stylistic diversity the album has unity and a beguiling sense of relaxation. DeJohnette opens and closes with unaccompanied piano performances, reminding us that despite his fame and influence as a drummer, he plays his first instrument with a fine touch and harmonic sensibility.

Wesla Whitfield, Mike Greensill Trio, The Best Things In Life

Wesla Whitfield plugs her current of understated energy into a diverse collection that encompasses “The Best Things in Life Are Free” from 1927, “Bein’ Green” from Sesame Street, and “Walkin’ After Midnight” from the Patsy Cline hit parade. There are also standards by Loesser, LeGrand, Arlen and Frishberg, among others. Whitfield is often billed as a cabaret singer, but with the rhythm section of pianist Mike Greensill, bassist John Witala and drummer Vince Lateano supporting her time sense, phrasing and inflection, the fuzzy border between cabaret and jazz disappears. Nat Cole’s “Errand Girl For Rhythm” is a case in point.

Clark: The Autobiography of Clark Terry (UC Press)

The great trumpeter, flugelhornist and mumbler writes with joy about the good times in his long life and with frankness about the rough patches. His humor and generous spirit are intact whether he is telling of his love for Basie and Ellington, his triumphs as a performer, his legions of friends, or encounters with racists and bottom feeders in and out of the jazz world. Terry’s ear, eye and memory for detail provide insights into not only his remarkable career but also the trajectory and development of jazz as an art form and a social force during his many decades in music.

Chick Corea, Eddie Gomez, Paul Motian, Further Explorations (Concord)

The two-CD album is described in the notes as a “template,” a “tabula rasa,” rather than a tribute to Bill Evans. Nonetheless, Corea’s encounter with two great Evans sidemen underlines Evans’s profound influence on the development of the jazz piano trio and on Corea’s own playing. Released less than a month following Motian’s death at 80, the live recording from New York’s Blue Note beautifully captures the drummer’s freedom, swing and interaction. In pieces from Evans’s repertoire and others by members of the trio, there is a spirit of adventure and, in Evans’s newly found “Song No. 1,” the challenge of discovery.

Pinky Winters, Winters In Summer (SSJ)

To borrow from Paul Williams’s words to Ivan Lins’ “Love Dance,” Winters knows how to turn up the quiet. Using subtleties in phrasing, pitch, intensity and tone shading, she takes ownership of a song without violating its writer’s intentions. Here, her bossa nova repertoire includes Jobim, Lees and Moraes, plus Brazilianized songs by Cole Porter, Dave Frishberg, Bob Florence and Jack Jones. A highlight: her caressing of Jobim’s and Lees’ “Dreamer,” which also has one of several simpático tenor saxophone solos by Pete Christlieb. Years pass between Pinky Winters albums. When one appears, it is an event.

Ronnie Cuber, Ronnie (Steeplechase)

Cuber has been playing uncompromising jazz on the baritone saxophone for more than half a century. With pianist Helen Sung, bassist Boris Kozlov and drummer Jonathan Blake, he is in top form in this 2009 album that escaped my attention until recently. Following his hard-bop gruffness in Freddie Hubbard’s “Thermo,” Cuber floats with tenderness through Scott LaFaro’s “Gloria’s Step” and Michel LeGrand’s “Love Theme From Summer of ’42.” At the speed of thought, he burns through ”Ah Leu-Cha” and “All the Things You Are”, giving young Blake a run for his money in their exchanges.

Chet Baker, Candy (MVD)

In a private library in Sweden in 1985, Baker plays and sings with his working trio of the period, pianist Michael Graillier and bassist Jean Louis Rassinfosse. Red Mitchell is a guest, not on bass but at the piano showing Baker his preferred changes to “My Romance,” which the two perform together. Baker is relaxed and impressively fleet in the 1944 title tune and in “Tempus Fugue-it,” “Nardis,” “Sad Walk,” Mitchell’s “Red’s Blues” and “Love for Sale.” His “Bye Bye Blackbird” is tinged with blues. In brief interludes, Baker chats with Mitchell about his career. It’s good to have this on DVD at last.

Ron Carter’s Great Big Band (Sunnyside)

The venerable bassist’s first recording at the helm of a big band has style, depth and power. The playlist of jazz standards may suggest that Carter and arranger Robert Freedman are plowing old ground, but they produce a crop of fresh ideas. They transform “Opus One,” “Con Alma,” “Sail Away,” “The Golden Striker,” “St. Louis Blues” and eight others. Harmonically and rhythmically, Carter leads. He solos, but does not dominate the album, leaving space for Steve Wilson, Greg Gisbert, Wayne Escoffery, Jerry Dodgion, Mulgrew Miller and Scott Robinson—a few of the 17 top-flight members of the band.

Rudresh Mahanthappa, Samdhi (ACT)

This is the latest chapter in the alto saxophonist’s accommodation of his Indian cultural heritage to his American jazz ethos. Or is it the other way around? He combines electric guitar, electric bass, drums, the astonishing South Indian percussionist Anantha Krishnan and discreet post-production manipulation. Guitarist Dave Gilmore is a stimulating foil. The demonic “Killer” and the electronically multiplied saxophones of “Parakram #2” may require conventionally attuned ears to adjust to the Mahanthappa ethos. Relaxed pieces like “Ahhh,” “For My Lady” and “Rune” bring contemplative satisfactions.