GERALD CLAYTON at Jazz Standard (Oct. 10-13, 7:30 and 9:30 p.m.). This 35-year-old pianist plays with utter grace and command, throwing big blankets of harmony across the keyboard; even when his harmonies turn dark or dissonant, they still feel plush and welcoming. He uses a lovely, crushed-velvet touch but still manages to make the piano resonate fully, like a bell. Clayton performs here with three of his longtime musical partners: Logan Richardson on alto saxophone, Joe Sanders on bass and Kendrick Scott on drums.

212-576-2232, jazzstandard.com

DEZRON DOUGLAS QUARTET at Smalls (Oct. 11-12, 10:30 p.m. and midnight). A bassist with a rare depth of feeling and flavor, Douglas can typically be heard in bands led by some of jazz’s brightest talents. He’s the kind of side musician who can almost single-handedly make a band shine, while doing nothing so flashy as to seize the spotlight. So his talents as a bandleader should come as no surprise. Douglas’s most recent album, “Black Lion,” from last year, dealt in capering funk, briskly swinging postbop and maximalist contemporary jazz, all arranged for a sextet with a three-horn front line. Here he leads a quartet featuring the tenor saxophonist Grant Stewart, the pianist Sylvia Manco and the drummer Jerome Jennings.

646-476-4346, smallslive.com

DICK HYMAN, KEN PEPLOWSKI AND BILL CHARLAP at Dizzy’s Club (Oct. 16, 7:30 and 9:30 p.m.). Hyman’s career has included work for studio orchestras in the early years of television, recording some of the first commercial experiments with synthesizers in the 1960s, and the leadership of jazz-repertory bands large and small. A National Endowment for the Arts Jazz Master, he has become arguably the most respected living musician devoted to the jazz piano’s early history. Here he performs with the tenor saxophonist and clarinetist Ken Peplowski, who’s possessed of a warm, soothing tone and a similar love for old jazz repertoire. For the 9:30 p.m. set, Hyman will share the piano chair with Bill Charlap, his distant cousin and a distinguished pianist in his own right.

212-258-9595, jazz.org/dizzys

GODWIN LOUIS at the Jazz Gallery (Oct. 11, 7:30 and 9:30 p.m.). This alto saxophonist was born in Harlem to parents of Haitian descent; as an adult he has lived in New York, Haiti and New Orleans, and on his debut album — the double disc “Global,” which effortlessly mixes carnival bounce with jazz linguistics — he explores the common threads of black expression that he discovered along the way. At the Gallery, Louis will perform music from that release with Axel Tosca Laugart on piano, Kareem Thompson on steel pan, Giveton Gelin on trumpet, Dion Kerr on bass and Jonathan Barber on drums.

646-494-3625, jazzgallery.nyc

SIMONA PREMAZZI QUARTET at Bar Bayeux (Oct. 16, 8 p.m.). Based in New York since the mid-2000s, this Italian pianist writes and plays with a keen sense of melodic counterintuition. Her pieces move swiftly from darkness to light; listening to her solo can feel like being tossed on the waves of a storm, though the ship is never at risk of going down. Premazzi hasn’t released a full-length album since 2017, but earlier this year she put out a two-track EP paying tribute to the free-jazz piano pioneer Cecil Taylor that contained, not altogether surprisingly, zero compositions by Taylor himself (the pieces were extrapolations on Ornette Coleman’s “Peace” and Miles Davis’s “All Blues”). Still, it bore clear debts to Taylor’s slashing, multilayered style. Premazzi appears at Bar Bayeux with a quartet featuring Mark Shim on tenor saxophone, Joe Martin on bass and Kush Abadey on drums.

347-533-7845, barbayeux.com

DAVID TORN’S SUN OF GOLDFINGER at Nublu 151 (Oct. 13, 9 p.m.). Guitarists at the fringes of jazz and rock often devote nearly as much attention to their effects and pedals as they do to the guitar itself. But Torn, who has played with fellow jazz greats, recorded for rock stars like David Bowie and made soundtracks for blockbuster films, takes it a step further: He’s turned his guitar into a kind of console, with buttons on the instrument’s body that allow him to cue extraneous sounds or cut off the signal between guitar and amp entirely. In Sun of Goldfinger, his trio with the saxophonist Tim Berne and the percussionist Ches Smith, he moves between turbid cloudscapes and high, searing tones, toying with a vast range of sonic frequencies. Smith, meanwhile, bounces from steadily driving beats to moments of long, ominous repose, as Berne dances and swarms above.

nublu.net

GIOVANNI RUSSONELLO