Gil Scott-Heron, who died in May, was an American poet, musician, and author known primarily for his work as a spoken word performer. He made music that reflected the turbulence, uncertainty and increasing pessimism of the early ’70s, merging soul and jazz and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. Giacomo Gates is an extraordinary vocal stylist, often credited as a contemporary Eddie Jefferson with a full-bodied baritone and blazing inventiveness. As bracing an innovator as he is an interpreter, Gates delivers the satirical and insightful lyrics of this true American original on “The Revolution Will Be Jazz: the Songs of Gil Scott-Heron.”

NEA Jazz Master Cedar Walton has enjoyed an up-tempo career, which never seems to slow down. Maintaining a non-stop itinerary, Walton has accompanied a litany of jazz greats while also fronting his own successful groups since 1966. As a pianist, Walton doesn’t rely on pet licks or pyrotechnical display, although he has an excellent technique. Rather he invents all the time, and makes his always imaginative work fit into the context of whatever he’s playing. As a composer, Cedar is one of the finest in jazz whose works have been widely recorded with many now being recognized as jazz standards. For his latest CD — The Bouncer — Walton returns to his favored quintet format with poll-winning trombonist Steve Turre adding his luxurious, velvet tone to Vincent Herring’s saxophone sound.

Gerald Veasley, the former bassist for Grover Washington, Jr. and the Joe Zawinul Syndicate, has released eight discs as a leader featuring original jazz, funk, and soul-tinged compositions. For his brand new CD — “Gerald Veasley’s Electric Mingus Project” — he has re-imagined the works of acclaimed jazz composer and fellow bassist Charles Mingus. “We reacted to what was essential about Charles Mingus’s music,” explains Veasley. “We never had an impulse to update or improve it, but instead tried to capture the feeling, which to me is adventurous, surprising and passionate.” The disc revisits seven Mingus compositions using modern electronic instruments as well as three narrations based on Mingus’ own words and two original compositions from Veasley himself.

Chicago’s dynamic Deep Blue Organ Trio returns with their fourth disc, this time bringing their singular approach and sound to the music of Stevie Wonder. Influenced deeply and early on by Wonder’s compositions, artistry and cultural impact, guitarist Bobby Broom, organist Chris Foreman, and drummer Greg Rockingham bring reverence and musical honesty to their interpretations of nine Wonder gems on “Wonderful!”

Dave Valentin enjoys a fine reputation as a composer, arranger, and band leader in addition to being the most celebrated Latin flutist today. After studying with the great Hubert Laws, the multi-Grammy nominee developed the unusual techniques that feature slapping the keys of his instrument so it sounds like a percussion instrument, and singing into the flute while playing, generating harmonies from a single flute. These techniques, and more, are all on display on his new CD — “Pure Imagination”– that features a half-dozen tunes written by his long-time friend and colleague, pianist Bill O’Connell.

Among the most talented and resourceful figures in the exciting Miami Latin jazz scene, Venezuelan pianist Silvano Monasterios leads the way as a top-rated figure. Both as a performer and composer, he is among the most gifted today, and his piano playing and compositions have appeared on recordings by artists including Dave Liebman, Donald Byrd, Paquito D’Rivera, Randy Brecker and Dee Dee Bridgewater. With his new quintet, Silvano has recorded eight new and imaginative compositions for the CD “Unconditional.” It showcases an artist with a complete understanding of his complex Venezuelan roots, who understands the Austro-Germanic-European compositional heritage, and who is steeped in the great American jazz tradition.

Legendary trombonist Roswell Rudd has reached yet another milestone in his celebrated and remarkably varied career, his 75th birthday. Through the years, Rudd has shown an affinity for music and musicians from all over the world with a love for collaboration. He’s played with luminaries Cecil Taylor, Archie Shepp and Steve Lacy. He’s recorded with musicians from Mali, Mongolia, and Latin masters from Puerto Rico. His new recording — “The Incredible Honk” — is a collection of some of his recent adventures working alongside a number of ensembles, including Cajun legends Michael Doucet & Beausileil, Malian griots, and his own quartet.

Chuck Redd began his career as a young drummer with a well-earned reputation for his ability to swing with passion, making him a favorite of veteran jazzmen like Dizzy Gillespie, Tommy Flanagan, Ray Brown and Monty Alexander. He took up the vibes after a teacher played him a Modern Jazz Quartet record and he heard the sound of master vibesman Milt Jackson, instilling in him a desire to extend his abilities to that instrument. He had a long tenure with Charlie Byrd and the Great Guitars, a half-decade with Mel Torme and, more recently, work with Bucky Pizzarelli and Ken Peplowski. He’s also made a name as the leader of his own groups, and for his brand new CD — “The Common Thread” — he’s joined by jazz legends Bob Cranshaw, Mickey Roker, and Houston Person.

For many years, Jay Ashby and Steve Davis sat side by side in both the Dizzy Gillespie All-Star Big Band and Slide Hampton’s World of Trombones, and no matter where they were, the two were constantly mistaken for one another. Chalk it up to an uncanny physical resemblance or their common roots in upstate New York, their shared musical influences, the fact that they both play large horns, or a combination of all these factors. Whatever the reason, it happens frequently enough to have inspired the title of their new CD, “Mistaken Identity.” Very few two-trombone recordings have surfaced since the great J.J. Johnson and Kai Winding recordings of the 1960s. This new disc pays homage to these jazz masters while simultaneously taking a fresh look at the possibilities for two-trombone arrangements and repertoire.

“This album is a true fusion of jazz, salsa, New Orleans, hip hop, rap, African rhythm and its classical forms. This is the most fun we’ve had making a Headhunter CD and we’re excited to see how people react to our new album, Platinum.” So say percussionists Bill Summers and Mike Clark of the Headhunters, the legendary jazz-funk fusion band founded in 1973 by Herbie Hancock. The band went on to produce more seminal records on their own and has been acclaimed for its musical pioneering and innovative concepts. The new release also features saxophonist Donald Harrison and bassist Richie Goods, with guests including Patrice Rushen, George Clinton and original Headhunter Bennie Maupin.

Grammy-winner and multiple nominee Phil Woods is one of the top alto saxophonists alive, and he has lost neither his enthusiasm nor his creativity throughout his illustrious career. He’s worked with a who’s who of the jazz world, including Thelonious Monk, Dizzy Gillespie and Quincy Jones. Pianist Bill Mays has his own long-standing trio, plus he’s worked with such artists as Gerry Mulligan, Sonny Stitt, and Art Pepper. After Mays joined Woods’ Quintet a few years back, talk began of doing a duo recording. They came together last September to record “Phil & Bill”, which includes a handful of off-the-beaten-path standards and a couple of Woods originals.

In a career spanning five decades, pianist Monty Alexander has distinctively bridged the worlds of jazz, popular song, and the music of his native Jamaica. With over 70 albums to his name, Alexander celebrates his 50th year in music with “Harlem-Kingston Express: Live.” It presents his most “reggaefied” touring group yet which, for the past few years, has defined a bold new chapter in Alexander’s lifetime journey of uniting jazz with reggae and a wide array of other Island musical idioms he holds dear. A majority of the disc was recorded live during the group’s triumphant week at Dizzy’s Club Coca-Cola in New York City in June of last year, which the Wall Street Journal called, “an outrageously good time.”

A 2010 Downbeat Magazine Critic’s Poll Rising Star, pianist and composer Gerald Clayton has been steadily honing his craft since high school. With the release of his Grammy-nominated debut CD in 2009, Clayton began to make his mark as a leader in the jazz community. His dynamic sound has been praised by publications such as Jazz Times, the Los Angeles Times and the New York Times. His second disc as a leader — “Bond: The Paris Sessions” — features his trio mates Joe Sanders on bass and Justin Brown on drums, providing him with the vehicle to explore and expand on his own vision of the music.

“You’re It” is the debut release from the H2 Big Band out of Denver, Colorado, a collaboration of trumpeter Al Hood and pianist/composer/arranger Dave Hanson. It features world-class soloists and players from the Mile High City and beyond, including veterans from the bands of Maynard Ferguson, Buddy Rich, Woody Herman, Artie Shaw and Toshiko Akiyoshi. Trumpet legend Bobby Shew is also in the spotlight, playing on all the tracks as either soloist, lead player, or section trumpeter. Hanson offers up a program of originals and his unique arrangements of tunes by Miles Davis, Clifford Brown and Cy Coleman.

John Rapson, Director of Jazz Studies at the University of Iowa, has unveiled his latest project — “Mystery and Manners: the Improvisations of Vinicius and Nene” — featuring Brent Sandy, Chris Merz and Drew Morton.

Gerald Wilson, the reigning composer/orchestrator in jazz today, pays homage to his adopted hometown of Chicago on his new CD– “Legacy” — featuring his “Yes Chicago Is…” suite. Composers Igor Stravinsky and Giacomo Puccini also receive Wilson’s musical tips of the hat. Wilson’s son, guitarist Anthony Wilson, and grandson Eric Otis are also represented by a composition/arrangement apiece. Wilson’s orchestra comprises many of the great jazz artists who have been his collaborators over the last four years, including Renee Rosnes, Lewis Nash, Sean Jones, Jeremy Pelt, Dick Oatts, Gary Smulyan, and Peter Washington.

Described as being “soulful, swinging and yet utterly modern,” New York-based alto saxophonist Jim Snidero’s music seems to encapsulate what is both unique and compelling about jazz. Called an “alto sax virtuoso” and “master musician” by Downbeat magazine, Snidero is a veteran recording artist with sixteen releases to date. He’s also been a valuable sideman in the bands of Jack McDuff, Eddie Palmieri, and the Mingus Big Band over the years. Snidero exercises his composing chops on “Interface” — penning all the tunes on the program and drawing an astonishing array of colors from the sax-guitar-bass-drums quartet combination.