Although 2010 has been a somewhat lackluster year for new jazz releases, some standout CDs from veteran performers serve as reminders of the timelessness of the music. Among these are two exemplary duo albums, a fine disc from a younger artist, and a new recording from a veteran performer who has been out of sight for far too long.

“Jasmine,” a new CD from the duo of pianist Keith Jarrett and bassist Charlie Haden, and “Home—Live in Columbia, Missouri,” from pianist Bruce Barth and saxophonist Steve Wilson, are two remarkable examples of the Art of the Duo. “Jasmine,” on ECM Records, reunites Jarrett and Haden after a 30-plus year hiatus for a program of standards, ranging from the familiar (“For All We Know,” “Body and Soul”) to the obscure (“No Moon at All,” “Don’t Ever Leave Me”). Recorded in 2007 in Jarrett’s home studio, the performance is much like a soft, intimate conversation between two old friends, with both musicians emphasizing the lyrical qualities of the music on the session. No flamboyant solo exercises or long drawn out improvisations, just soft, straight-ahead music that is deeply soulful and imaginative.

Like Jarrett and Haden, Barth and Wilson are long-time friends and colleagues whose rapport on “Home” borders on empathetic. Working with a program comprised of four Barth originals and three standards, the conversation between these two musicians is boisterous, with each tossing musical ideas at each other and engaging in frequent call and response on tunes such as Barth’s “Blues Interruptus,” Bud Powell’s “Wail,” and the standards “All Through the Night” and “Sweet and Lovely.” Throughout, Barth’s imaginative piano work interacts beautifully with Wilson’s sinewy saxophone lines, at times achieving a sense of oneness that is transcendent.

As many know, I’ve often lamented the lack of imaginative recordings being produced by the younger generation. Recently, I’ve heard a couple of recordings that have given me a sense of hope. One of these comes from a remarkable saxophonist, composer and educator named Tia Fuller, called “Decisive Steps.” Along with her terrific quartet—pianist (and sister) Shamie Royston, bassist Miriam Sullivan and drummer Kim Thompson—Fuller has a hard-swinging, take-charge approach reminiscent of that taken by Cannonball Adderley back in the day. The music is a blend of originals with a few choice standards that feature Fuller’s powerful sound, as on the title cut, or the more introspective lyricism that is heard to good advantage on “I Can’t Get Started.” Her main gig is with pop queen Beyoncé, but when Fuller and her remarkable group get a chance to cut loose, they can burn with abandon as they do on a rousing version of “My Shining Hour” that closes this wonderful CD.

The latest from Dave Holland, “Pathways,” finds the bassist-composer leading an octet of New York-based players in a live performance at New York’s Birdland. The music is vintage Holland, full of open forms and grooves that twist and turn and that feature a fine balance between the ensemble material and the open solos. Anchored by Holland, drummer Nate Smith and vibraphonist Steve Nelson, saxophonists Antonio Hart, Chris Potter and Gary Smulyan, along with trumpeter Alex Sipiagin and trombonist Robin Eubanks, all let loose with fiery, imaginative solos that enhance the colorful textures of the music from Holland’s pen.

Closing out are two recordings from two other superb veteran musicians. Of the two, San Francisco-based saxophonist Hadley Caliman, recently reemerged after close to 30 years in obscurity, with his latest “Straight Ahead” on Origin Records. Back in the 1970s, Caliman was the saxophonist of choice for artists ranging from Santana to McCoy Tyner.

As the title of this CD implies, this is a straight-up, no-holds-barred, hard bop-oriented session in the vein of classic Blue Note recordings by Hank Mobley, Lee Morgan and Caliman’s main role model, Dexter Gordon. Working in a classic quintet format, Caliman’s playing is at times subtly forceful, as on Morgan’s “Totem Pole,” and sublimely lyrical, heard to great advantage on a stirring rendition of Billy Strayhorn’s enduring “Lush Life.” It’s a stunning return to the jazz limelight for this superb musician.

Finally, there is “Mellow,” the latest from tenor saxophonist Houston Person on Highnote Records. Person, the long-time music director for the late singer Etta Jones, is best described as a classic romantic tenor player in the vein of Dexter Gordon, Ben Webster and Stan Getz. He’s the kind of player who can ring heartfelt emotion in a simple phrase with his rich, deep, soulful sound. “Mellow” consists of nine standards and one original blues piece by Person and pianist John Di Martino. The program balances between up tempo tunes like “Sunny” and “In A Mellow Tone” and lush ballads like “Too Late Now” and “Who Can I Turn To?” Person shows his mastery of the blues on “Blues in the AM” and displays a relaxed and lyrically swinging style throughout the disc, ably assisted by Di Martino, guitarist James Chirillo, bassist Ray Drummond and drummer Lewis Nash.

Like all of the musicians in this list, Person and Caliman are representative of the type of veteran musicians that young aspiring jazz players should take the time to study and learn from. With each of these recordings, lyricism is the key and the emphasis is on melodic, swinging music. Learn your lessons well.