Ian Carey Quntet, Contextualizin’ (Kabocha). Carey’s self-deprecation in his liner notes would have you believe that he’s not much of a trumpet player. It depends on what you mean by playing. True, there’s not a double high C anywhere on the album and no jet-speed series of gee-whiz chord inversions. Let’s settle for good tone, lyricism and contiguous ideas that lead somewhere. Carey and his young sidemen are in tune with one another, in every sense. In Adam Shulman he has a pianist who understands Bill Evans and in Evan Francis an alto saxophonist to keep an ear on.

New York Art Quartet, Old Stuff (Cuneiform). As brash, iconoclastic and good-natured as the day it was born, the NYAQ comes roaring out of 1965. Trombonist Roswell Rudd, alto saxophonist John Tchicai, bassist Finn von Eyben and drummer Louis Moholo affirm that if free jazz is going to jettison formal guidelines, its players had better have musicianship, personality and the gift of listening. During its brief existence, the New York Art Quartet met all requirements. Just to prove that they were aware of where they came from, they included a glorious reading of the melody of Monk’s “Pannonica.”

Martin Wind New York Quartet, Live At Jazz Baltica (Jazz Baltica). Bassist Wind returned to his native land in 2008 for Germany’s Jazz Baltica Festival in Schleswig-Holstein. With the addition of the astonishing multi-instrumentalist Scott Robinson, the Bill Mays Trio with Wind and drummer Matt Wilson became the Wind quartet. The vigor, ingenuity and camaraderie among the musicians reach a peak in “Remember October 13th,” with Robinson’s bass clarinet alternating between the joy of unbridled freedom and the profundity of the blues. Bill Evans’ “Turn Out the Stars” is another highlight. Camera work, sound and direction are beautifully realized.

Sam Stephenson, The Jazz Loft Project (Knopf). In the late 1950s and early ’60s, a loft on New York’s Sixth Avenue was headquarters for master photographer W. Eugene Smith and hangout for dozens of musicians including companions as various as Zoot Sims, Pee Wee Russell, Thelonious Monk and Bud Freeman. Stephenson’s narrative links transcriptions of conversations taped in the loft and pages of photographs Smith made of jam sessions and of the street life he saw from his windows. The book captures an important slice of jazz and New York history.

SFJAZZ Collective, Live 2009 (SFJazz). Last year’s tour by the all-star septet was built around their arrangements of music by pianist McCoy Tyner. It also included new compositions by its members, Joe Lovano, Miguel Zenón, Dave Douglas, Robin Eubanks, Renee Rosnes, Matt Pennman and Eric Harland. This two-CD set, recorded in halls across the US, is a tribute to Tyner, offering invigorating playing and writing by members of a younger generation he influences. Among the new pieces, Zenón’s “No Filter” and Rosnes’s “Migrations” stand out.

Eddie Thompson and Brad Terry, Eddie and Me (Living Room). Thompson, a blind British pianist, spent ten years in the US before he returned home in 1972. He performed often around New York with Terry, a peripatetic clarinetist whose brilliant work would be better known if he had pursued a conventional career. This album, finally reissued on CD, captures their empathy, harmonic audacity and wit. It is available as a download here and as a CD by e-mailing here. Full disclosure: I wrote a pro bono blurb for the package. And I’d do it again.

Henry Threadgill Zooid, This Brings Us To, Volume 1 (PI Recordings). Threadgill names his band Zooid after a cell “that is able to move independently of the larger organism to which it belongs.” Accordingly, five musicians simultaneously and freely invent within, around and through structures devised by saxophonist and flutist Threadgill, one of the leading lights of the avant AACM movement. The music has moments of amusing bluster, others of reflective calm. Its intricacy demands patient listening.

Masters of American Music: The Story Of Jazz (Medici Arts). An opening montage cleverly synchronized to Ellington’s “It Don’t Mean a Thing if it Ain’t Got That Swing” introduces the first in a series whose other initial subjects are Billie Holiday, Charlie Parker and Thelonious Monk. The programs ran on public television in the last century. It is good to have them revived on DVD with crisp picture and sound. The Story Of Jazz features superb performance clips, interesting interviews and a well-written script that has its share of clichés but blessedly few wrong facts.

Terry Teachout, Pops: A Life Of Louis Armstrong (Houghton Mifflin). Teachout is a consummate biographer. His books about H.L. Mencken and George Balanchine proved that. With Armstrong, he exceeds himself. Teachout combines the advantage of unique access to Armstrong’s archives with deep musical understanding and the gift of writing clearly about complex matters. He makes the reader understand that when the history is told and the analysis finished, there is just one real explanation of how a waif from the underside of life changed music forever: genius. Getting to that point, Teachout takes us on an unforgettable trip.

Carla Bley, Steve Swallow, The Partyka Brass Quintet, Carla’s Christmas Carols (Watt). Bley arranges nine classic carols with tenderness, wit, harmonic brilliance, wide dynamic range and a wry sense of nostalgia. She adds two of her own pieces, the gorgeous “Jesus Maria” and “Hell’s Bells”, a joyous concoction on “I Got Rhythm” changes. Swallow’s bass work, as always, is perfection. Prepare to be captivated by the brass ensemble and by the solos of trombonist Adrian Mears, trumpeter Axel Schlosser and hornist Christine Chapman.

Chris Potter, Steve Wilson, Terell Stafford, Coming Together (Inarhyme). This was to have been the recording debut in 2005 of the young tenor saxophonist Brendan Romaneck. That year he died at 24 in a traffic accident. In his memory, saxophonists Potter and Wilson, trumpeter Stafford and a fine rhythm section completed the project. Eight of the compositions are Romaneck’s. Three are standard songs. Potter is compelling with a pianoless trio on “My Shining Hour.” Wilson and Stafford shine on Romaneck’s daring “Minion.” Pianist Keith Javors, bassist Delbert Felix and drummer John Davis are strong throughout.

Miles Davis, Kind of Blue (Columbia). Okay, this is the zillionth reissue, and it’s not the first to include alternate takes, false starts or a second CD of performances by the classic Davis sextet. The difference? Columbia got the sound right – no forced reverberation, echo, clipping, compression or other digital-age engineering cuteness. This is how the music should sound. Nice packaging, too, retaining the original cover on a sturdy three-panel fold-out box. If you don’t own Kind of Blue, this is the one. If you do, the improved sonics are worth considering.

Woody Herman, Live in ’64 (Jazz Icons). This captures Herman on British television long after he stopped naming or numbering his Herds. It was one his most exciting bands, driven by drummer Jake Hanna and bassist Chuck Andrus. Upstate New York terrors Joe Romano and Sal Nistico are fascinating in their contrasting tenor sax styles. Two underrated trumpet soloists, Paul Fontaine and Billy Hunt, stand out, as does trombonist Phil Wilson, a master of high-note eloquence. But it’s the tout ensemble that grabs you. Woody is charming in his set-piece introductions. BBC sound and video quality are good.

Helene La Faro-Fernández, Jade Visions: The Life and Music of Scott La Faro (North Texas). There will be other books about the most important young bassist of the last half of the twentieth century. Their authors will mine this invaluable first biography. The insight La Faro’s sister gives into his character, musicality and determination could come only from someone so close. But the book is not just memories. La Faro-Fernández conducted dozens of interviews and did meticulous research to create a full portrait of the man who in a tragically short career changed jazz bass playing.

New York Trio, Always (Venus). This is pianist Charlap’s other trio, with bassist Jay Leonhart and drummer Bill Stewart rather than his Blue Note companions Peter Washington and Kenny Washington. In his eighth CD for the Japanese label he honors Irving Berlin by lovingly playing the melodies of ten Berlin songs, then improvising on the pieces with inventiveness, harmonic ingenuity and interaction with Leonhart and Stewart. Charlap’s keyboard touch and subtle use of dynamics, notable throughout, are captivating in the unaccompanied version of “Russian Lullaby” that ends the album.

Miguel Zenón, Esta Plena (Marsalis Music). The alto saxophonist and composer illuminates and elevates la plena, the peoples’ music of his native Puerto Rico. Zenón augments his quartet with percussionists playing pandero, seguidor and requinto drums to provide the music’s rhythmic heart. Zenón’s playing further establishes him as one of the most important young soloists in jazz. Pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole are impressive throughout. Zenón aids understanding of the music with a scholarly liner essay tracing the history and cultural importance of la plena.

Red Mitchell, Warne Marsh, Big Two (Storyville). Bassist Mitchell (1927-1992) and tenor saxophonist Marsh (1927-1987) played as a duo for two nights in 1980 at the Fasching Club in Stockholm. In this intimate recording, Storyville engineer Nils Edström captured the brilliance and inventiveness of their work. Long unavailable, the 2-CD set captures them at the peak of their powers. Among the highlights: Marsh channeling Lester Young’s famous “Lady Be Good” solo, then creating a memorable one of his own, and the two romping through Miles Davis’s “Little Willie Leaps.”

Art Farmer, Live in ’64 (Jazz Icons). Farmer’s quartet with guitarist Jim Hall was one of the greatest small groups in jazz history. For this television appearance, he featured pieces never released in the quartet’s recordings. Among them are an exhilarating “Bilbao Song,” Sonny Rollins’s “Valse Hot” and Cole Porter’s “So in Love.” Steve Swallow is the bassist, Pete LaRoca the drummer. Deeply experienced together by this time, the four were breathtaking in their individual and collective performance. The BBC-TV video is crisp, the audio clear. This is a jewel in Jazz Icons’ eagerly anticipated fourth release.

Art Pepper, The Art History Project (Widow’s Taste). This is the latest segment in Laurie Pepper’s guided tour of her husband’s musical life. It begins in 1950 with the alto saxophonist on Stan Kenton’s band and ends a year before his death in 1982. About a third of the music is previously unreleased. All of it is fascinating. Whether Pepper is full of youth and optimism in the ’50s, obsessing over Coltrane in the ’60s or declaring his persona in a blistering blues in the ’80s, we hear in this three-CD set one of the music’s indomitable individualists.