Equal parts prodigiously talented musician, consistently funny comedian, auteur, theatre performer, free thinker and writer, Reggie Watts is nigh on impossible to pigeonhole. He is a hurricane of furious creativity operating completely in his own lane, hurtling full-speed towards Parts Unknown. Primarily known for his inimitable blend of improvisational music and comedy, each show he performs is completely original, never to be repeated.

The life of the stand-up is a balance, often precarious, between those stage moments when things seem to be going just right, and the ones which look like they're about to go very wrong. The hero of Tom Shkolnik's debut feature The Comedian, Ed (Edward Hogg), seems to be making decent progress with his club appearances, but when the chance of a new relationship comes along it puts the previously settled balance of his life right out of kilter.

Born just a year apart in the 1950s and having both clocked up almost 40 years' work in their respective scenes, it's surprising that it's taken quite so long for fellow trailblazers Pat Metheny and John Zorn to work together. It's certainly been worth the wait, as this collection is a real barn-burner.

The CD booklet note by NASA astrobiologist Daniella Scalice is just the first of many striking features on this third Basho CD by the Mercury Prize-nominated pianist Kit Downes. Joined by his core trio of bassist Calum Gourlay and drummer James Maddren (both fellow alumni of the Royal Academy of Music), plus reeds player James Allsopp and cellist Lucy Railton, Light From Old Stars sees Downes really getting into his compositional stride.

OK, so you've given your copies of Rod's It Had To Be You and Robbie's Swing When You're Winning a few listens (released many, many years ago, the latter is still top of the iTunes jazz albums chart in a gazillion countries). You've memorised the words and now you quite fancy giving “Summertime” a bit of a go. A touch of rubato here, a judicious tweak of the melody line there and, hey, you're singing jazz! Er, not quite.

Anthony Neilson is the wild man of new writing. However, this reputation, which has been provoked by shock-fests such as Penetrator (1993) and Stitching (2002), belies the fact that some of his best work, such as The Wonderful World of Dissocia (2004), exudes a warm humanity and offbeat humour. But perhaps the most significant thing about some of his recent work has been his concern with process.

Suddenly, it's raining Duke Ellington homages. Stateside, there's Terri Lyne Carrington's Money Jungle: Provocative in Blue, a brilliant reimagining of Ellington's classic 1963 trio recording with Charles Mingus and Max Roach that recently hit the top spot on the JazzWeek radio chart. Here in the UK, the Scottish National Jazz Orchestra's latest release In the Spirit of Duke – recorded on tour during October 2012 – features an all-Duke programme which captures the Ellington Orchestra sound down to the tiniest detail.

Walking into the auditorium of a packed Heaven last night, we were instantly treated to the sensation of having our bodies invaded by thousands of infinitely complex machine insects. It's rare that a band can have such an instant and disquieting effect, but Fiium Shaark's music, we discovered, is as unusual as their name in many ways.

Born in London in 1978 to a Barbadian father and British-Jamaican mother, Soweto Kinch is one of the most exciting and versatile young musicians to hit the British jazz and hip hop scenes in recent years. Following a degree in modern history at Hertford College, Oxford, Kinch has carved out a music career that has so far led to two Mobo wins for best jazz act (2003 and 2007) and a Mercury Prize nomination for album of the year in 2003.

Truly an ensemble cast, the Wayne Shorter Quartet's playing on Without A Net - marking Shorter's return to Blue Note Records after 43 years - fuses disparate elements into something transcendent and utterly original. From the slow burn of “Myrrh” to the searching, high-velocity romanticism of “Starry Night”, two of six new Shorter compositions featured, the album takes small group music-making to another dimension.