Steve Gadd has had a remarkable career during the past 40 years, working with everyone from Dizzy Gillespie and Chick Corea to Maynard Ferguson and George Benson. When it comes to his own projects, the drummer loves to play good-time groove music that has the danceable qualities and bluesiness of the best R&B along with the adventurous solos and impeccable musicianship of jazz. On his new CD — “Live at Voce” — he’s joined by organist Joey DeFrancesco, the passionate baritone saxophonist Ronnie Cuber, and the versatile guitarist Paul Bollenback, a quartet which has been together since 2007 creating grooves and hard-driving swing that are reminiscent of the best organ groups of the ’60s.

Also notable. In a diverse career spanning three decades, keyboardist Pete Levin has performed with hundreds of jazz artists, including Miles Davis, David Sanborn, and Wayne Shorter, along with a 15-year association with Gil Evans and an 8-year stint with Jimmy Giuffre. His new CD “Jump!” documents his continuing efforts to push the envelope of the traditional organ trio. The set features a collaboration with the remarkable guitarist Dave Stryker, legendary drummer Lenny White, and dazzling percussionist Manolo Badrena.

Also out with new music this week: Japanese trumpeter Takuya Kuroda makes his debut as a leader, “Bitter and High”; trumpeter and Chicago native Brad Goode unveils his exciting new quartet on “Tight Like This”; and veteran keyboardist and composer Bill O’Connell features saxophonist Steve Slage, trombonist Conrad Herwig and vibraphonist Dave Samuels on his new release, “Rhapsody in Blue.”

Russell Malone has been a significant figure in the jazz world for more than two decades. One of his most pivotal career-shaping experiences was as part of organist Jimmy Smith’s band in the late-80s. He’s also spent time working in the bands of Diana Krall, Harry Connick Jr., Sonny Rollins, and Ron Carter among other notables. For his ninth release as a leader — “Triple Play” — he once again cements his reputation as a pre-eminent jazz guitarist, composer and bandleader in a piano-less trio setting with bassist David Wong and drummer Montez Coleman.

Guitarist Kevin Eubanks held one of the most coveted chairs in television for nearly 15 years as the leader of the Tonight Show band, when his muse struck and prompted him to take his axe and move on. Before taking the TV gig that boasted talents like Branford Marsalis and the venerated Doc Severinsen, Eubanks had an acclaimed recording career garnering many awards along the way. He resumes that career with “Zen Food”, a new disc which finds him in the company of his favorite players, most of whom can be found jamming with him at L.A.’s famed Baked Potato.

Also out with new music, veteran drummer Louis Hayes and his Jazz Communicators, featuring pianist Mulgew Miller and vibraphonist Steve Nelson, offer up “Lou’s Idea”; pianist and composer Leslie Pintchik, who first surfaced on the Manhattan jazz scene in a trio with legendary bassist Red Mitchell, unveils her third release as leader, “We’re Here to Listen”; and Boston-based pianist and composer Pamela Hines presents her seventh release, “Moon Germs.”

Veterans Day 2010 – we note several KCCK staffers who are veterans of military service.

Mark Yother was in the Air Force for three years. He was editor of the base newspaper at Ent Air Force Base in Colorado, then worked in radio and television with the American Forces Korea Network (AFKN) for a year.

George Dorman spent two years in the Army, including a year in Korea — first in field artillery, later as a reporter/photographer for the 2nd Infantry Division newspaper. He also worked weekends as a radio newscaster and television sportscaster for AFKN.

Cary J. Hahn served four years in the Navy, broadcasting on Armed Forces Radio aboard the USS Hancock aircraft carrier during Vietnam service and on the island of Kodiak, Alaska.

Murray Kent was a news and sports announcer for American Forces Vietnam Network (AFVN) and an FM radio music host.

Bob Naujoks spent his entire two-year Army tour at Fort Leonard Wood, Mo., managing an enlisted men’s service club.

Student Music Producer Josh Roberts is an Army vet who did two tours of duty in Iraq as a helicopter mechanic.

Drawing on the Hot Club style of Django Reinhardt and Stephane Grappelli, Hot Club Sandwich adds in classic Latin American, old-world European and other influences, including a bit of West Coast twang. The fourth release from the Seattle-based band — “And If Only” — takes listeners from the smoky cafes of Paris to the hipster backstreets of 1930s Harlem, careening along a winding musical road filled with yodeling cowboys, a band of Mexican violinists, and spirited Gypsy jazz guitar slingers.

The inspiration for trumpeter Chris Davis’ new CD — “Baile Bonita” — comes from an old, fairly obscure album by Kenny Dorham which consisted of Dorham on trumpet and the great Ernie Henry on alto on the front line plus bass and drums. It was essentially a jam with a head-solos-head format. Davis’ date utilizes this instrumentation in a very different way with complex ensemble passages, background riffs, and is much more orchestrated. The same instrumentation was used by Ornette Coleman in his first legendary quartet, but Davis’ music is fresh and free like Coleman’s but has a strong harmonic structure.

Also out with new music: Brazilian guitarist Sandro Albert, cited by Yellowjackets bassist Jimmy Haslip as one of the best young contemporary guitarists and an exquisite composer, unveils his latest quartet release, “Vertical”; saxophonist Eli Degibri is joined by Brad Mehldau, Ron Carter and Al Foster for “Israeli Song”; and young organist Jared Gold, who has plied his craft as a sideman with Randy Napoleon and Oliver Lake, offers up his third release as a leader, “Out of Line.”

The piano trio is hardly a new concept in jazz. Certainly Cyrus Chestnut has established himself as a giant in that format, through CDs stretching back to his recording debut in 1990 and his countless appearances at clubs, concert halls and festivals throughout the world. Even so, his new release — “Journeys” — marks a watershed moment in his ongoing growth as a pianist, composer and bandleader. “This is a trio record as opposed to a piano trio record,” he points out. “…It’s about three gentlemen paying close attention to each other. Each of us listening to the others, reacting and working together for what I believe is the unique sound of this particular unit.” That unit features Dezron Douglas on bass and Neal Smith on drums.

Cornetist Warren Vache and trombonist John Allred put together a quintet a few years ago for a live date in Switzerland, resulting in their first disc as co-leaders. “The live CD we did was a ball,” Vache says. “I love playing with these people-they’re all very creative and they all have something to say, and it inspires me to keep going. This line-up is something pretty special and it’s something I’d like to do more of.” Vache and Allred do just that on “Top Shelf”, featuring a program of bop, hard-bop and standards. Their band mates include Tardo Hammer on piano, Nicki Parrott on bass and vocal, and Leroy Williams on drums.

Also out with new music: trumpeter/singer and New Orleans mainstay Kermit Ruffins unveils his latest, “Happy Talk”; pianist Pete Malinverni includes some of his original compositions and some popular songs less-used in the jazz context on his new trio release, “A Beautiful Thing”; and trumpeter Joe Magnarelli mixes in string orchestration by Marty Sheller with his own quintet arrangements on “My Old Flame.”

Passionate, robust singers with the sensitivity of a Carmen McRae and the sass of a Dinah Washington aren’t exactly thick on the ground these days, which is what makes Mary Stallings’ return to the studios a cause for rejoicing. Her voice is, at once, contemporary and timeless, encompassing the entire history of jazz vocals. For her newest release — “Dream” — the former colleague of Cal Tjader, Dizzy Gillespie and Count Basie sails through a program of standards and obscurities with elegance and ease, her slightly blues-tinged phrasings beautifully supported by pianist and arranger Eric Reed.

Houston Person is a gentleman of jazz, a versatile player with a seemingly effortless approach that’s elegantly sensuous and unabashedly romantic. There’s a smooth, creamy warmth to his tone, but a decidedly muscular undercurrent keeps saccharine sweetness firmly at bay. On his new CD — “Moment to Moment” — his players provide superbly understated, gently swinging support with trumpeter Terell Stafford receiving plenty of time in the spotlight. Beautifully recorded by Rudy Van Gelder, Person explores and elaborates on melodic themes, reflecting upon rather than reinventing each composition with an emphasis on the sheer beauty of timeless tunes.

The problem with jazz singing is that almost no two listeners can agree on exactly what it is. Fans of unbridled scatting tend to dismiss vocalists with a more lyrical side; listeners who enjoy lyrical storytelling have less regard for performers who use words as vehicles for ostentatious display. This makes the singing of Denise Donatelli particularly remarkable, since her style is able to employ the positive aspects of both camps. The first thing you notice is the rich timbre of her voice, which has the clarity and flexibility to sing almost any imaginable genre. With musical direction, arrangements and keyboard contributions by Geoffrey Keezer, Donatelli shows herself to be a jazz singer who belongs in the upper echelon of modern jazz vocalists with her new CD, “When Lights Are Low.”

It’s been a long journey for the five talented young musicians and composers of the band UoU from their start in Japan. They first arrived in the U.S. to attend at Berklee School of Music in Boston during the late ’90s and early 2000s. Upon completion of their studies, they individually began working with top artists on the New York City jazz scene, including Mark Turner, Marcus Printup and Walter Blanding, before they formed UoU in 2008. Their debut CD — “Home” — is comprised of original compositions which fuse elements of Japanese-inspired melodies along with American jazz rhythms and harmonies.

It seems perfectly natural that a musician having developed a distinctive sound and approach to his instrument would want to broaden his palette. Guitarist/composer Rez Abbasi has been perfecting his own guitar voice, mainly playing electric, for some time. With his new CD, “Natural Selection”, Abbasi forgoes the electric and turns to the acoustic guitar along with a new, unique ensemble. The Rez Abbasi Acoustic Quartet features the talents of Bill Ware on vibes, Stephan Crump on acoustic bass and Eric McPherson on drums. As Abbasi explains, “One of the elements that make the group stand out is the texture of acoustic guitar with vibes, bass and drums-something I haven’t heard up until now. The sound is organic and chamber-like and it granted me a fresh palette to write new music from.”

Guggenheim Fellow Ryan Cohan has distinguished himself as a vital original voice to be heard amongst the elite young jazz artists on the global music scene today. Upon receiving his performance degree from DePaul University in 1993, Cohan began making his mark playing and writing with the top jazz and Latin musicians in Chicago. He has since performed with many iconic artists including Freddie Hubbard, Curtis Fuller, Paquito D’Rivera, and Kurt Elling. The pianist’s second release as leader, “Another Look”, features Geof Bradfield on reeds, Lorin Cohen on bass and Kobie Watkins on drums, a quartet that’s been playing together in the U.S. and internationally for seven years.