This Monday kicks off a new series on All Things Considered: “Turntable,” where we’ll sit down with our favorite music connoisseurs to hear what they’ve been listening to.

First up is GBH Jazz’s Al Davis, who joined GBH’s All Things Considered host Arun Rath to share what’s on his playlist. What follows is a lightly edited transcript.

Arun Rath: Let’s get started. What’s the first piece of music you’re sharing with us?

Al Davis: Well, the first piece is — I’ve seen this gentleman live a few times, but he always excites me when he performs. His name is Warren Wolf. He’s from the area, and he has a recording out called History of the Vibraphone.

What he means by that — he’s talking about different vibraphonists who are his role models.

For example: Lionel Hampton, Bobby Hutcherson, Joe Locke — these are all great vibraphonists. [Wolf] plays tunes that they’ve recorded, and he’s doing his rendition of it.

The first one, which is what we’re going to listen to, is “Midnight Sun” written by Lionel Hampton. His arrangement is actually superb, and he just brings a nice tempo to it. He adds an alto saxophone with it, but he does his solo, and you can hear the energy from his playing and performing. If you see him live, you get an idea of where he’s coming from. But the music and the energy that he brings to the tune itself is really fascinating.

[“Midnight Sun” by Warren Wolf]

Davis: He puts his good energy into that, and the alto saxophone is out front, giving a hit to the song. But when he gets to his solo, he really stretches it out.

Rath: Love the sound of the vibraphone. He’s really, just — I mean, he’s going all the way back there — conversing with the elders, in a way.

Davis: That’s correct, that’s correct. He brings something different to the table. I mean, there’s a lot of vibraphonists out there today — more vibraphonists are coming forward — but Warren Wolf really takes it to another level, which I really appreciate in his music.

Rath: That’s brilliant. I love that he’s local, as well.

Davis: That’s correct, that’s correct.

Rath: So, who’s next?

Davis: A vocalist who’s local — well, he’s from New York, I believe. He comes into Boston periodically to perform. I’ve seen him at one of the Cambridge events. His interpretation is totally different from what you hear, and he brings a vocal ease to it.

It’s different from hearing a trumpet play or a saxophone playing this tune. It brings electronics to it, so it’s kind of funky, but his delivery is different from any vocalist I’ve heard in the past. He’s got a new sound, and in fact, a lot of the younger generation love his delivery, his sound. And I agree because when I first saw him perform live here, not too far from me, I was really impressed with his little presentation and interpretation of his music.

He’s a wonderful vocalist. His name is Michael Mayo, and he’s going to do for us Miles Davis’ composition called “Four.”

[“Four” by Michael Mayo]

Rath: That’s pretty awesome! I mean, it sounds pretty traditional to start off with. I only know “Four” as an instrumental version — I’ve never heard words put to it like that. But then, the beat’s falling in weird places with him, right? There’s some funky, interesting stuff going on.

Davis: It’s great, and that’s what I like — it’s different. You know, I’ve heard this tune done many times by several musicians, but Michael brings something different to the table, and it’s very attractive.

Rath: It’s one of those tunes that I know so well. I almost wanted to start singing along, but then it’s like, “Oh, I can’t sing the way you’re singing, man.”

Davis: All I can do is hum along. I think Miles Davis would be proud of that interpretation. So yeah, very nice from Michael Mayo — his release is called Fly. It’s doing well on the music charts as well.

Rath: That’s great.

Davis: Our next artist is Jane Monheit. She is outstanding. You know about Jane Monheit?

Rath: Oh, yeah.

Davis: Yeah. You just listen to her, man. You put the CD on and just listen. She takes it to a whole new, different place, you know? She does well with not just quartets and quintets — a wonderful job with strings. She has the voice to deliver with a string arrangement.

On one of the tunes on here, she starts off with strings, and then she changes and gets into more of a horn arrangement. She takes out the strings, and then she takes it to another tempo. It’s really exciting how she mixes that all up together.

[“Young and Foolish” by Jane Monheit]

Rath: Like you said, Al: just listen. I love singers with a big voice — they’re not messing around. They just bring it.

Davis: And she definitely brings it. No stopping — she just delivers, right from the beginning to the end. As I mentioned earlier, she does well with a string quintet, quartet, a piano solo — it doesn’t matter. Jane can handle it.

That’s her most recent record: a self-titled release, too, from Jane.