JOEY ALEXANDER TRIO at Zankel Hall (Oct. 18, 9 p.m.). The piano playing of this 16-year-old prodigy is lyrical and harmonically layered, and he packs each solo with miniature moments of pleasure and payoff. Favoring lissome, clearly articulated block chords, he turns corners tightly, and clears many landings on his way to completing a longer thought. Alexander appears here with an all-star rhythm section featuring Larry Grenadier on bass and Eric Harland on drums; the Venezuelan percussion virtuoso Luisito Quintero will join as a special guest.
GEORGE COLEMAN QUARTET at Smoke (Oct. 17-20, 7 and 9 p.m.). A tenor saxophonist and National Endowment for the Arts Jazz Master, Coleman will always be best remembered for his work alongside Miles Davis in the 1960s. But in the decades since, the sound he used back then — straight-toned and forthright, yet thoughtful and measured besides — has remained one of jazz’s unsung constants. Coleman lost his own greatest source of creative constancy last month when the pianist Harold Mabern died at 83; the two had been friends and bandmates since high school. Coleman returns this weekend to Smoke, a familiar stomping ground, without Mabern for the first time since his passing.
HIROMI at Sony Hall (Oct. 19, 7 and 9:30 p.m.; Oct. 20, 8 and 10:30 p.m.). Are you ready for your listening workout? Somewhere in the space between conservatory jazz, Western classical and New Age music, there’s Hiromi, playing the piano as if it were on a treadmill, dazzling audiences with speed and power and complexity but always playing something that your ear can easily follow. It’s a question of whether you’ve got the endurance. Hiromi is on tour alone in support of “Spectrum,” her new solo-piano album, which puts her energy and virtuosity on open display.
LEE KONITZ NONET at the Jazz Gallery (Oct. 20, 2 p.m.). Konitz’s lengthy career began in the 1940s and early ’50s, when he studied with the innovative pianist and composer Lennie Tristano and recorded with Miles Davis and Gil Evans on their epochal “Birth of the Cool” sessions. Since then he has cut a winding path while retaining a focused, contemplative, noirish sound on the alto saxophone, and has become a mentor to countless younger musicians. His forthcoming album, “Old Songs New,” is a striking collection featuring a nine-piece ensemble arranged by one of Konitz’s longtime students, the tenor saxophonist Ohad Talmor. This wily, offbeat group features four woodwinds, two cellos, viola, bass and drums. At this show the pianist Jacob Sacks will join as a guest.
RAGAS LIVE FESTIVAL at Pioneer Works (Oct. 19, 7 p.m.). This nonstop, 24-hour music festival, now in its eighth year, will feature performances from over 70 musicians from across the worlds of Indian classical, jazz and other improvised music. The festival kicks off on Saturday night with a set from the percussionist Adam Rudolph and his Moving Pictures ensemble; it closes on Sunday evening with the Brooklyn Raga Massive’s “In D,” a new piece for large ensemble inspired by Terry Riley’s minimalist classic “In C.” In between, performers will include the esteemed bassist Reggie Workman, the young mridangam player Rajna Swaminathan and the sitarist Neel Murgai.
FAY VICTOR at the Whitney Museum of American Art (Oct. 18, 5 and 7 p.m.; Oct. 19, 2 and 4 p.m.). Breath, inflection, hiccuping sobs, mirthful laughter — as Victor sees it, these are all a kind of singing. So, too, are the feelings beneath them: empathy, frustration, cogitation, surprise. By opening up the way a song can be sung, Victor convinces us to open our receptors in unusual ways. She plays here as part of the Whitney’s Jazz on a High Floor series, which welcomes different musicians throughout the fall to perform inside the pianist and conceptualist Jason Moran’s retrospective exhibition, currently on view in the museum’s eighth-floor gallery. The concerts will take place within sculptures he built to recreate jazz stages from throughout New York’s history. Tickets to the museum are required to see these shows.