Yoko Miwa has been a popular and well-respected fixture on the Boston jazz scene since graduating in 1999 from the Berklee College of Music, where she now teaches. The pianist has also toured her native Japan, as her first four CDs were released there. Miwa studied in Japan with Minoru Ozone, the father of Makoto, before coming to Boston in 1996. Live at Scullers Jazz Club was recorded in October of 2010 with Miwa's longtime trio mates, bassist Greg Loughman and drummer Scott Goulding, along for the ride. Miwa possesses a fully-formed style and shuns flamboyance for substance, making every note count, despite a formidable technique that might tempt her to overplay.

On Steve Allen's "This Could Be the Start of Something," Miwa proves that she can swing mightily, using a vibrant two-handed attack, her strong left hand often favoring the lowest resounding notes, and mixing in some sparkling unison passages. An emphatically lyrical bass solo by Loughman, followed by appealing piano-drum trades, indicate the trio's rapport right from this opening track.

A contemplative, soul-searching aura pervades "Wheel of Life," an uplifting Miwa original. The theme's hypnotic revolving phrase is expanded upon movingly in the pianist's solo, her arpeggios blended perfectly with melodic figures. Here Miwa shows how a relatively simple tune can be built upon in a fascinating and compelling way in the hands of a skilled improviser.

"Mr B.G." is Miwa's tribute to pianist Benny Green, whose style not in small measure resembles her own. However, she brings her own distinctive piano sound and individual nuances to this performance. Oscar Peterson lurks in the shadows here as well, emerging at times as he so often does in Green's playing. Loughman contributes another fine solo, and again there are seamless exchanges between Miwa and Goulding.

Miwa next takes the Brad Melhdau and/or Bad Plus route, drawing from pop music for fresh material outside the realm of The Great American Songbook. Her soulful development of the spiritual quality of Steven Tyler's "Seasons of Wither" is quite effective. In her solo, resolute left-hand chords mesh smoothly with darting extended lines. Bridged by a brief bass improv, "Seasons" segues directly into Lou Reed's "Who Loves the Sun?," which shares the former's spirituality. Now a newly emerging African rhythm and Miwa's unrelenting solo bring to mind both Abdullah Ibrahim and Melhdau.

"Silent Promise" is the pianist's thoughtful ballad, imbued with equal parts of sadness, regret, and hope. Her creative improvisation vacillates from majestic to humble in its manner of conveying emotion. Art Farmer's "Mox Nix," which follows, is a blues romp. Miwa's surging solo is propelled by Loughman's steadfast bass line and flavored throughout by a McCoy Tynerish modality, Tyner himself having played the tune back in the day with Farmer and Benny Golson's Jazztet. Goulding's excellent solo features crisp cymbal accents and precise snare and bass drum interactions.

Milton Nascimento's "A Festa" closes the program with a Brazilian flair, once again affirming Miwa's versatility. She has the enviable ability to play in any context with authenticity, clarity, and spontaneity, not resorting to pet phrases or predictable structures and resolutions. Miwa doesn't break any new ground, but is a consummate purveyor of post bop, or modern mainstream piano jazz, however you may choose to define it.