Recorded over a three-day period in 2004, this two-disc set of stark improvisations places pianist Gestrin in ever-changing trio, duo and solo settings with a dozen compatriots from Vancouver’s creative music scene. The pieces are quiet and roomy, suffused with a cool northwestern mist as they roam through soft scribblings, mysterious foreign landscapes and composed-sounding impressionist sketches. Remarkably, the diverse pieces all feel like parts of a planned whole, a freeform Zen suite to be contemplated and absorbed.

Christian Fabian’s band swings easily over this mix of new and classic bop tunes, serving them straight up and showing excellent poise. Fabian’s fat basslines and upbeat attitude set up several tasty solos, leaving pianist Mike Longo and drummer Lewis Nash plenty of room to make their own warm statements. Guest trumpeter Jimmy Owens and sax man Andres Boiarsky goose some of the uptempo numbers into a funkier space, while the trio casts a golden glow on ballads.

In his noisy debut as a bandleader, trumpeter Peter Evans squeezes forth brash sounds at once familiar and obscure. Unspooling long, spiky reels of notes in stream-of-consciousness fashion and flying to the extremes of his instrument’s tonal range, Evans tosses his ideas into a great, haphazard heap of tottering phrases. Brandon Seabrook chunks and trills on guitar, also adding murky electronics at opportune moments, while drummer Kevin Shea kicks at the foundations and bassist Tom Blancarte crafts a wry running commentary.

Featuring a trio, quartet and septet, organist Gary Brunotte’s fourth album shifts from cool Brazilian breezes to twitchy urban struts, and from haunting balladry to happy stomps. He switches instruments as well, supplementing his gleefully sneaky approach to the organ with gentle piano, tender accordion and some throaty vocal turns. The disc is unified by Brunotte’s sunny spirit: Whether he’s creeping stealthily across Jimmy Rowles’ “The Peacocks” or parading a children’s choir through “Mas Que Nada,” his love of the material shines through.

Gregg August’s sophomore release grabs you by the collar, gets directly in your face and growls, Listen. Loaded with streetwise postbop tunes, the disc rides in on the leader’s low, suspenseful bass riffs and a rock-solid band with as much forward momentum—and as many quick turns—as a roller coaster. There are plenty of persuasive solos, too, with John Bailey’s gritty trumpet, Myron Walden’s odd sax angles and E.J. Strickland’s drum bashing sitting particularly well opposite Gregg’s chewy, elastic sound. This is a winner.

With a bright, crisply articulated guitar tone and a slippery attack, Dave Allen takes an exceptional quartet on a spin through nine original tunes, showcasing both his own subtle compositional style and the seamless interplay of his band. Saxophonist Seamus Blake projects a smoothly undulating linearity against Allen’s more circular solo approach, while bassist Drew Gress and drummer Mark Ferber provide gentle yet irresistible force. Melodious and buoyant throughout, this set is easily approached but yields a rich listening experience.

The second disc, Step Lightly, is a collection of standards and other straightahead jazz fare. While Carter’s vocals continue to mesmerize, this material doesn’t carry the same spark as the less-predictable Feather. But several original blues numbers combine winking sass and easygoing grooves in an irresistible way. Together, these two discs leave no doubt that Felicia Carter is a special talent, well worth seeking out.