During Russell Gunn’s recent one-nighter at the Blue Note jazz club, his music took the audience to the musical cliff’s edge, and as the pebbles fell beneath their feet, they breathlessly moved to a spiked groove. The music was so potent, the rhythmic force simulated a magnet that held everyone in an alternate state of swing.

Trumpeter and composer Gunn is an adventurer with a hip sound that’s always jumping genres. Said Gunn, “I am with my partner in crime, James Hurt.” The pianist Hurt, like Gunn, has made a habit of forging a path with sharp turns and blistering notes that reach far beyond your average grasp.

Gunn and Hurt were joined by an explorative ensemble of special guests who included bassist Corcoran, saxophonists Bruce Williams (alto) and Myron Walden (tenor), guitarist Kelvyn Bell, percussionist Kahlil Kwane Bell, drummer Marcus Baylor and DJ Logic on turntables.

OK, once DJ Logic’s name is mentioned, the jazz police go into deaf mode. No DJ can be a part of jazz music, so they say. Although this Bronx native was raised in hip-hop, he loves jazz, having performed with Christian McBride, Bob Belton, Uri Caine and Vernon Reid, who crosses genres from Black rock to the blues.

Like a musician, he knows when to come in or just lay out. On this outing with Gunn, he was right in the pocket, but the truth of the matter is, turntablist or musician, you have to be up for the game.

He was the perfect addition to Gunn’s ensemble, with Hurt playing with his elbows and fists during the pianist’s original tune “Mars,” which was crazy with wild rhythms, melodies flying and everyone having a say in the conversation.

However, on Gunn’s tune “Critic’s Song,” the ensemble went straight ahead with a few twists into the funk zone and a soulful saxophone reminiscent of Grover Washington Jr. It’s unfortunate a musician like Gunn, who brings such a strong voice to the music, doesn’t perform more often in Gotham. He brings another distinctive opinion to the world of jazz, which stretches its concept into a flaming perspective.

Nicholas Payton recently performed with his trio, longtime bassist Vincente Archer and drummer Bill Stewart, at Dizzy’s Club Coca Cola. Since his Verve debut album, “From This Moment” (1994), Payton has returned to playing multiple instruments. For this venture, he was on keyboards, piano, trumpet (his mainstay) and vocals.

He actually plays the keyboards and trumpet at the same time. That is some serious ambidextrous action. He included Monk’s “Straight No Chaser,” adding his own interpretation, a ballad with spiked vamps.

He took to singing on “Stay Right Here in New Orleans.” As a bold bass stepped in, Payton leaned back from the mic to play his trumpet and keyboards. It was a real New Orleans, high steppin’ drum strut with fierce drum beats, trumpet flurries and sweeping bass lines.

Some fans felt Payton’s multi-instrumentation was distracting, saying they came to hear him play the trumpet only. However, fans should recognize they are getting a layered performance by a musician who is constantly creating. Someone yelled a song request from the audience, so obviously there are those who would like him to continue singing.

As it should be, jazz musicians develop new concepts that consistently take them in unexplored directions. Payton is only following the jazz tradition, and being stagnant is not acceptable. Without such creativity, Miles Davis would have never created “Bitches Brew” and bebop would have never reached the stage.

Kellylee Evans, who recently made her U.S. debut with the album “Remember When” (Motema Music), will appear at the Jazz Standard (116 E. 27th St.) Oct. 28, with two shows at 7:30 p.m. and 9:30 p.m.

Evans in the jazz realm delivers songs such as “If I Was Your Woman,” “You Got Me” and “Again” with a soulful edge. The Juno Award winner (Canada’s Grammy) has opened for Dianne Reeves, Tony Bennett and George Benson.