It’s time for a roundup of recent CDs that have crossed my desk over the past few months, starting with a couple of discs from Boston-area artists who play locally with some frequency.

Brooke Sofferman’s “Fine Whines,” on Summit Records (www.summitrecords.com), is a very good outing that showcases Sofferman’s solid approach to drumming in a variety of settings, from solo to trio to full quintet. The drummer is ably assisted by Norm Zocher on guitar, Phil Grenadier on trumpet, Bruno Raberg on bass and Jerry Bergonzi on saxophone. Sofferman arranged or composed all the music on the disc, and, as one would expect from a drummer’s recording, the album is full of provocative and intricate rhythms and meters. The music primarily has an open modal sound that can start to seem redundant after a while, especially with 13 tunes on the disc. But Sofferman keeps things interesting with his propulsive drum work and his fine sense of interaction with the other musicians, especially Bergonzi’s inside/outside playing, which is a highlight throughout. There is an underlying sense of humor in the music that gives the recording an upbeat vibe, most notably on an outrageous version of “The Imperial March” from “Star Wars,” and an inventive arrangement titled “All Kashmir,” which combines elements of Miles Davis’ “All Blues” and Led Zep’s “Kashmir.” The well-written originals include the shifting meters of “Metric Monkulation,” the reggae-influenced “Some Beach” and the burning, Latin/swing oriented “Only Two Dimensions.” From a personal standpoint, I would like to have heard some tunes with more harmonic motion, a standard or an original melody based on a standard. I also found the fine bass work of Bruno Raberg to be buried in the recorded mix—I tried listening to the disc on several different systems, all with the same result. Still, this is a very fine effort from a musician with plenty of promise and ability.

Also from the Boston area comes “DYAD,” a superb duo outing from singer David Thorne Scott and pianist Mark Shilansky, presenting a nice mix of originals and standards. This disc has many fine moments and a few brilliant ones, such as the jazz-meets-folk interpretation of John Denver’s “Rocky Mountain High” and a beautiful rendering of Leonard Bernstein’s “A Simple Song,” both of which offer excellent examples of Scott’s powerfully clear tenor voice. There is also a fine version of “When I Fall in Love,” with a shifting harmonic sequence that moves the melody through several different key changes. Some of the originals don’t quite measure up to the standards. The most interesting original is Scott’s “Agitated,” with its humorous lyrics. There are moments when Shilansky’s piano work tends to overwhelm Scott’s voice, but not enough to detract from the overall positive vibe of the session. As these two musicians work together more, they’ll figure out how to refine their interaction. This is a duo worth hearing, for sure. Check out www.davidthornescott.com, for more info.

Recent national releases include Larry Braggs’ “Places,” a powerfully soulful set from the Tower of Power vocalist. The set features Braggs’ assured vocal work on a mix of originals and covers, with the highlight being a stunning version of TOP’s “Willing to Learn,” done sans horns. It’s a fine example of Braggs’ ability to stretch and take liberties with a melody. A terrific effort, this disc is available on Strokeland Records at www.strokeland.com.

“Musically Yours: Remembering Joe Henderson” is saxophonist Paul Carr’s tribute to late saxophonist Joe Henderson. The disc features a superb quintet that includes Mulgrew Miller on piano, Terrell Stafford on trumpet and Lewis Nash on drums. Carr unleashes his full-bodied tenor sax on a set of Henderson originals spiced with a couple of standards. Carr’s solo work is straightforward and expressive, though there are moments when his technique betrays him, causing some of his improvisations to lose clarity, most noticeably on up-tempo selections like “Mamacita” and “Night and Day.” Still, Carr exhibits a “go for it” approach that abounds throughout the disc. Miller, Stafford and Nash each contribute many excellent moments, especially on the Latin burner “Y Todavia LaQuiero” and the inside/outside tune “Our Thing.” Michael Brown anchors the whole affair with his solid and unobtrusive bass work. Visit www.PaulCarrJazz.com for more info.

Saxophonist Charles Lloyd has long enjoyed a reputation as one of the jazz world’s most creative spirits. This is displayed on his latest for ECM Records, “Rabo de Nube,” a wonderful live performance by Lloyd and his current quartet with remarkable pianist Jason Moran and the fine bass/drum tandem of Reuben Rogers and Eric Harland. A more straight-down-the-middle affair than some of his other efforts, there is nonetheless a sense of adventure and exploration in the new recording. From the soft, open feel of “Prometheus” to a remarkable reworking of Lloyd’s “Sweet Georgia Bright,” the use of space and the interaction on this disc are prime examples of why I feel that all jazz should be recorded live in front of an audience. This is one of Lloyd’s finest ensembles in a while, and in Moran, who always displays an adventurous approach, Lloyd continues his knack for working with top pianists, going back to the days when Keith Jarrett provided the harmonic inspirations for Lloyd’s sonic flights.

The Nuttree Quartet’s “Standards,” on Kind of Blue Records (www.kindofbluerecords.com), is a contemporary update on the classic organ combo format. The quartet consists of Adam Nussbaum on drums, Jerry Bergonzi on saxophone, John Abercrombie on guitar and Gary Versace on Hammond B-3 organ. Nussbaum propels the group through 10 select standards by Ellington, Gershwin, Shorter, Monk and Coltrane. While the music is timeless, these seasoned pros bring a contemporary edge to the tunes, with solo work that is open, spacious and not prone to cliché. An even more open approach is taken on Versace’s own “Inside Out,” on Criss Cross Records (www.crisscrossjazz.com). With Donny McCaslin on saxophones, Adam Rogers on guitar and the superb drumming of Clarence Penn, the group plays eight Versace originals that cross a broad spectrum of contemporary jazz styles without sounding dated. Penn’s energetic drumming provides the spark for inspired playing on this terrific session.

Eliane Elias is a pianist who floats just beneath the wider jazz audience’s radar. A thoughtful and intuitive player, Elias pays homage to one of her influences, Bill Evans, on her new Blue Note disc, “Something for You.” With her bassist husband Marc Johnson (who was a member of Evans’ last trio) and drummer-for-all-seasons Joey Baron, Elias applies her subtle touch to a long program of tunes associated with Evans, including several that the legendary pianist wrote for a potential album shortly before his death. This is the type of tribute in which the influence is more implied than direct, as Elias long ago established her distinct voice. Staples such as “Blue in Green,” “Solar” and “Detour Ahead” are intermingled with lesser known Evans originals like “For Nenette,” “Evansesque” and the lovely “Here’s Something for You.” A winning set from start to finish.

Finally, the trio of pianist Keith Jarrett, double-bassist Gary Peacock and drummer Jack DeJohnette celebrate their 25th anniversary as a unit this year. “My Foolish Heart: Live at Montreux,” on ECM Records, offers the latest in a string of superior live performances by this stellar group. Sticking with their primary repertoire of standards, these three musicians display a group rapport and empathy that comes from being perfectly in tune with one another’s approach. In my opinion, this is the state of the art in piano trio today. Very few others come close.