For 14 years, an annual rite of seasonal passage has been taking place at Dizzy’s Club: a week-long residence of the exceptional Brazilian ensemble Trio da Paz. I give credit to the club’s original majordomo, Todd Barkan, for this well-timed booking at Jazz at Lincoln Center. How better to relax, in the final week or so of summer, than with bossa nova?

Except, it isn’t merely mellow sounds that you’ll be hearing. Trio da Paz, which consists of drummer Duduka Da Fonseca, guitarist Romero Lubambo, and bassist Nilson Matta, doesn’t conform to anybody’s idea of unobtrusive Brazilian-styled elevator music. The music of the great “Carioca” Maestros — Antonio Carlos Jobim, João Gilberto, Ivan Lins, Milton Nascimento — is always described as laid-back and low key, but this trio is foremost about jazz.  

Even though the ensemble’s name translates from Portuguese as “Trio of Peace,” that hardly says it all. Tuesday’s opening set of this year’s weeklong run was almost entirely uptempo, very fast, and at high volume — in other words, loud and swinging.

Those qualities are found in the Trio’s own playing, and it’s especially true when tenor saxophonist Harry Allen and keyboardist Vitor Gonçalves join as guests. Then too, the regular vocalist, Maucha Adnet, who sang for roughly half the show, is a highly dynamic and exciting performer.

The opening set of their six-night run — something that is itself increasingly a rarity in the current era — began with two original instrumentals: Mr. Lubambo’s “For Donato,” which is heard on the group’s 2016 album, “30,” and is dedicated to the legendary Brazilian pianist João Donato; and Mr. Fonseca’s “Dona Maria,” dedicated to the drummer/composer’s grandmother. This is also the only tune from this set that appears on Mr. Fonseca’s soon-to-be released new album.

Even on the first few tunes, and without a meaningful warmup, the five-piece collective was already airborne, playing with considerable energy and even aggression. You could chalk up some of this to Harry Allen, a fierce and lively player under any circumstance, except that the Trio plays with considerable fire even on the numbers without Messrs. Allen or Gonçalves.

Regarding Mr. Allen, when this annual run was inaugurated at Dizzy’s, a lot of us assumed that he was there to fill the shoes of the great Stan Getz, who played a key role in the first international explosion of this music — the Brazilian invasion as it were — in the 1960s. If Mr. Allen was ever called upon to deputize for Getz, everyone, especially the saxophonist himself, seems to have forgotten it. Mr. Allen plays with an irresistible euphoria and a compelling tone that is entirely his own.  

Ms. Adnet, who toured with the late Jobim for a decade early in her career, took the stage for three numbers, all by the maestro himself, starting with “Ela é Carioca” and including “Vivo Sonhando,” which translates as “The Dreamer” or “I Spend My Life Dreaming” and appears on the classic 1964 “Getz / Gilberto” album. Ms. Adnet blends into the group seamlessly, especially as Mr. Allen blows his horn with a highly vocalized tone and Ms. Adnet sings entirely in Portuguese, which gives — to us non-speakers at least — her singing a highly instrumental quality.  She also frequently scats, and the two voices, her deep mezzo and his tenor, blend together in harmony or sometimes unison.

Ms. Adnet was especially compelling on “Aguas de Março,” one of Jobim’s best-known standards, regarded in American jazz circles (where it’s known as “Waters of March”) as something of an art song — more like “Lush Life” than “Blue Skies.” Yet she doesn’t sing it with any trepidation or delicacy; she simply lunges right in with all the gusto con brio that she sings everything else. These waters of March are not a gentle, placid stream, but a mighty, roaring river.

The Trio also played a number on their own, and one featuring Mr. Gonçalves, this time switching to accordion, which gave the ensemble something of an Argentine tango feeling. They wound up with a big finale spotlighting all six performers, which again challenged my received notions of what to expect from Brazilian jazz. This is no light, frothy summer cocktail: It is as swinging and hardcore as jazz gets — not to mention Stan Getz.