Kevin Whitehead

Portland, Ore. tenor saxophonist Rich Halley's quartet album Crossing the Passes on his Pine Eagle label commemorates a week-long trek over the Wallowa mountain range in Northeast Oregon, where Halley's been climbing since he was a boy. We could talk about his dual obsessions with music and nature as cultivating a love of wide-open improvisational spaces; he's got one band that only plays outdoors. But all that climbing also has practical benefits: It builds lung-power.

At the keys, Duke Ellington abstracted from stride piano, which modernized ragtime. Ellington's own spare percussive style then refracted through Thelonious Monk and Cecil Taylor, as well as a generation of freewheeling pianists active in Europe, like Aki Takase. Her new solo piano album is My Ellington, on which she plays some stride bass herself, as in "In a Mellow Tone."

Singer Cécile McLorin Salvant was born in Miami to French and Haitian parents, and started singing jazz while living in Paris. Back in the U.S., she won the Thelonious Monk vocal competition in 2010. The 23-year-old's first album, WomanChild, is now out — and few jazz debuts by singers or instrumentalists make this big a splash.

Singer Sarah Vaughan came up in the 1940s alongside bebop lions Dizzy Gillespie and Charlie Parker, starting out in Earl Hines' big band. Hines had hired her as his singer and deputy pianist, while Gillespie praised her fine ear for chords as she grasped the arcane refinements of bebop harmony.

Woody Herman, who would have turned 100 on Thursday, bloomed early and late — and then later still. He turned pro by age 9, singing and dancing in movie theaters on summer vacation. He'd perform one song deemed too risqué for radio when he recorded it decades later: "My Gee Gee From the Fiji Isles."

Bing Crosby was the biggest thing in pop singing in the 1930s, a star on radio and in the movies. He remained a top star in the '40s, when Frank Sinatra began giving him competition.

By 1928, Earl Hines was jazz's most revolutionary pianist, for two good reasons. His right hand played lines in bright, clear octaves that could cut through a band. His left hand had a mind of its own. Hines could play fast stride and boogie bass patterns, but then his southpaw would go rogue — it'd seem to step out of the picture altogether, only to slide back just in time.

The release last year of a 2007 reunion by the late Sam Rivers' trio confirmed what a creative drummer Altschul is. He has been one for decades. Altschul was a key player on the 1970s jazz scene, when the avant-garde got its groove on. Now, as then, he's great at mixing opposites: funky drive with a spray of dainty coloristic percussion, abstract melodic concepts with parade beats, open improvising and percolating swing. He's a busy player, but never too loud — he's also busy listening.

Ben Goldberg has been a staple of San Francisco's improvisational-music scene ever since he helped put together the New Klezmer Trio two decades ago. More recently, as a member of the quartet Tin Hat, he's set e.e. cummings poems to music. In between, he's recorded in a wide variety of settings, sometimes including other prominent Bay Area players — as on two new albums for different quintets.

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