Tamir Hendelman, Destinations (Resonance). The pianist’s second album as a leader is a gem. With drummer Lewis Nash and the Italian-born bassist Marco Panascia, he fashions exquisite versions of a dozen pieces. He is exhilarating in his lightning exploration of Makoto Ozone’s “BQE,” tender in his own “Babushka,” full of wit in his fleet exchanges with Nash and Panascia in Charlie Parker’s and Dizzy Gillespie’s “Anthropology.” In the contrast between his intricate introduction to “Wrap Your Troubles in Dreams” and the trio’s entry into the song itself, Hendelman creates a classic feel-good moment.

Jeremy Pelt, The Talented Mr. Pelt (High Note). There is more here than meets the ear accustomed to quintets that knock off Blue Note bands of the 1960s. From his record debut in 2002—and notably since he established this group in 2007—the trumpeter has manifested originality as soloist and composer. Five of the eight tunes are his, with writing as free of clichés as is his playing. Pelt’s sidemen are seasoned pros: saxophonist J.D. Allen, bassist Dwayne Burno pianist Danny Grissett and drummer Gerald Cleaver. On Cy Coleman’s rarely heard “In Love Again,” Pelt has a flugelhorn solo of heartbreaking beauty.

Neslort, Mystical Scam (Lort/Threadhead). Most reviews and articles about the leader of Neslort (spell it backward) begin, “Eccentric New Orleans trombonist Rick Trolsen…” The reasons for that are apparent in this CD. Equally evident is Trolsen’s and the sextet’s musicianship, which merges street funk, bebop, electronica, rhythm and blues, New Orleans parade pzazz and—as in all good gumbos—a mystery ingredient or two. Tim Robertson’s pliant guitar licks, Kyle Cripps’ saxophones, Matt Perrine’s bass and tuba, Larry Sieberth’s keyboards and the popping vigor of Boyanna Trayanova’s drumming complement Trolsen’s blowsy trombone and his vocals, reminiscent of David Clayton-Thomas.

Stan Kenton, Artistry in Rhythm (Jazzed Media). This is the story of Kenton’s development of a big band unlike any of its contemporaries. Photographs, film, video tape, audio recordings and interviews trace the band from its early days through its many incarnations—Artistry in Rhythm, Innovations, Progressive, Contemporary Concepts, Neophonic. Rather than a script and narration, the production depends for continuity on an extended interview with L.A. Jazz Institute head Ken Poston. Poston tends to speak in the historian’s academic mix of past, present and conditional tenses, but he gives good information. The film captures Kenton’s expansive personality and much of his music that matched it. It is a vast improvement over an unrelated 2004 DVD of the same title.

Jimmy Heath and Joseph McLaren, I Walked With Giants (Temple). Younger brother of bassist Percy, older brother of drummer Albert (Tootie), saxophonist, composer and arranger Jimmy Heath tells his life story with forthrightness, humor and no trace of self-delusion. A brilliant youngster who succumbed to the heroin disease that plagued beboppers, Heath paid his debt, cleaned up his act and became one of the most productive and respected musicians of his generation. Co-author McLaren intersperses tributes from Sonny Rollins, Benny Carter, James Moody and other giants who make it plain they are proud to have walked with Heath.

Alan Broadbent Trio Live At Giannelli Square: Volume 1 (Chilly Bin). No outer space explorer, Broadbent finds in the song form all that he needs for freedom earned through discipline. The technique he has intensified in recent years is evident in the precision and relaxation of his counterpoint in “Lullaby of the Leaves,” stunning parallel constructions, speed and independence of hands in “Solar” and in dozens of other demonstrations of his skill. Broadbent’s music, however, is not about chops. He concerns himself with beauty. The manifestations of it include his poignant reharmonization of “Embraceable You,” called here “You and You Alone.” Broadbent’s longtime sidemen, bassist Putter Smith and drummer Kendall Kay, are strong and sensitive in support.

Rudresh Mahanthappa & Bunky Green, Apex (Pi). Mahanthappa, aged 39, is one of the most visible alto saxophonists of the 21st century; Green, aged 75 one of the least. As a result of this album, Green is gaining the prominence he might have achieved in the 1960s had he not left Charles Mingus for academia. Among the saxophonists he influenced through recordings was Mahanthappa. Together, they are formidable kindred spirits. Throughout, but notably on “Summit” and “Playing with Stones,” their singleness of purpose, interplay and energy are remarkable. Pianist Jason Moran, bassist Francis Moutin, and drummers Jack DeJohnette (four tracks) and Damion Reid (six tracks) abet this inspired pairing.

Harold Danko, Oatts & Perry II (SteepleChase). Pianist Danko was a colleague of alto saxophonist Dick Oatts and tenor saxophonist Rich Perry in the Thad Jones-Mel Lewis band and never got over them—with good reason. This successor album to Oats & Perry (2006) again teams the three with bassist Michael Formanek and drummer Jeff Hirshfield. It reemphasizes the reasons that Oatts and Perry are admired among musicians and serious listeners for their inventiveness, passion and tonal qualities. In addition, it has plenty of Danko’s incisive soloing. They glorify tunes by Danko, Jones, Wayne Shorter, Horace Silver, Richard Rodgers, Johnny Mercer and Miles Davis, whose “Sid’s Ahead” is a moody highlight.

Dave Brubeck, Brubeck Returns to Moscow (Koch Vision). This 2005 film about Brubeck’s 1997 visit to Russia for a performance of his mass To Hope is a beautifully crafted documentary. It incorporates Brubeck’s quartet with a symphony orchestra and chorus performing the mass and a rousing “Blue Rondo ala Turk.” We see Brubeck’s informal encounters with the Russians, including a spirited impromptu duet with a young violinist, and conductor Russell Gloyd amusingly overcoming the language difference to rehearse the dozens of musicians. There is also footage of Brubeck on a previous Moscow occasion, at the Reagan-Gorbachev summit of 1988, before the wall came down.

Laurie Verchomin, The Big Love: Life & Death With Bill Evans (Verchomin). The “Laurie” of the pianist’s song by that name spares nothing in her account of their romance or of the drug use that hastened Evans’ death at 51. Love between the pianist and the young woman flared in the year-and-a-half before Evans died in late 1980. Her book is the story of the life-affirming brilliance of his music in the final months, a man resigned to the inevitability of his early mortality and the devotion of the young woman he chose to share the end of his life. The drug ugliness is at odds with the beauty of Evans’ music, but Ms. Verchomin illuminates his generosity, consideration and humor.

Chet Baker, The Sesjun Radio Shows (T2). The trumpeter and singer soars in two CDs compiled from 1970s and ’80s concerts on the Dutch radio program Tros Sesjun. Baker’s fleetness, lyricism, hard swing and vocal improvisations put this among the best work of his later years. Of the sidemen, pianists Harold Danko and Phil Markowitz, bassist Cameron Brown and drummer John Engels make outstanding contributions. Sound quality is superb. There are five stunning 1985 tracks by Baker with guitarist Philip Catherine and bassist Jean Louis Rassinfosse. Even the most hardened Baker detractors will find it difficult to dismiss these glowing performances.

Rufus Reid, Out Front (Motéma). Passionate performances of compositions by its members highlight this album by the stalwart bassist’s new trio. Reid’s “Caress the Thought” evolves through changing atmospheres and rhythms into a crescendo and a peaceful resolution. Drummer Duduka Da Fonseca’s “Doña Maria” alternates between the samba tradition of his native Brazil and the mainstream jazz of his adopted country. Pianist Steve Allee drew on twelve-tone music in “The Rise of the Row,” but the mood of the piece is closer to Bill Evans than to Schoenberg. Throughout, Reid’s bass is remarkable for its depth, richness and power.

Mike Barone, Live 2005! Redux (Rhubarb). Barone is one of the most accomplished big band arrangers never to become famous. For this reissue, he remixed to improve the sound, pruned overlong solos and added a track. Why “Grand Central” hit the editing room floor the first time around is a mystery. Ernie Watts and Vince Trombetta share the tenor sax glory in Barone’s pungent treatment of the John Coltrane classic. Alto saxophonist Kim Richmond, trumpeter Steve Huffsteter and Barone the trombonist also shine in the CD, but Barone the arranger cuts everyone. A few seconds into “When You’re Smiling,” you’ll be smiling.

Ben Niles, Note By Note: The Making Of Steinway L1037 (docuramafilms). This gem of the documentarian’s art follows a 9-foot concert grand for a year, from its beginning as lumber to its arrival at the Steinway showroom in New York. Director Ben Niles and his crew equal the love, knowledge and skill that went into making the instrument. They incorporate conversation and playing by Hank Jones, Kenny Barron, Marcus Roberts, Harry Connick, Jr. and Bill Charlap. Classical pianists Hélène Grimaud, Lang Lang and Pierre-Laurent Aimard also appear. The film transmits to the viewer the emotion and pride of the Steinway craftsmen. Charlap narrates with understated authority.

Ralph Jungheim, Maynard! (Buster Ann). Jungheim’s book is a collection of 30 transcribed reminiscences about the trumpeter and bandleader. Most of them are by musicians, but Ferguson’s valet, bus driver and instrument maker also contribute. Some of the anecdotes are amusing, some interesting, some appalling. The exclamation point after his name in the title applies to Ferguson’s spectacular playing and his ego. Even associates who had problems with his music and his insecurities had affection for him. The mystery of Ferguson’s supernatural chops is probably not explainable, but the book gives insights into his musicality and the contradictions in his character.

Miles Davis, Bitches Brew 40th Anniversary (Columbia). Here is everything you are likely to want to hear, know, ask or think about Davis’ full-fledged leap into the rock ethic that informed his music in the 1970s. It is a lavish boxed package of two LPs, three CDs, a DVD, a book and a packet of posters, ticket replicas, photos, proof sheets and Columbia memos. For those willing to spend more than a hundred bucks, the memorabilia aspect is an attraction, but the music is the thing. Sidemen including Wayne Shorter, Joe Zawinul, Chick Corea, John McLaughlin, Dave Holland, and post-production maven Teo Macero, helped Miles deliver on his celebrated claim, “I could put together the greatest rock & roll band you ever heard.” Rock never lived up to his example.

Irene Kral, Second Chance (Jazzed Media). Kral’s stock in trade was perfection—of intonation, time, feeling, diction and lyric interpretation. She sang with little movement, no show biz mannerisms, nothing resembling schtick. She was so good at 25 that in 1957 Maynard Ferguson hired her on the spot after hearing one song. Alan Broadbent became Kral’s piano accompanist in 1974. Until her death four years later, they performed together on a plane of empathy rarely achieved in any genre of music. This previously unissued club performance from 1975 is an essential addition to their small discography.