Hailed internationally for his work performing and touring both as a leader and as a long-standing member of the Roy Haynes Quartet (since 2005) and the Mingus Big Band (since 2000), saxophonist Jaleel Shaw is heard at the helm of his current quartet on “The Soundtrack of Things to Come.” Some of the music for the disc was written after the Rubin and Brooklyn Museums in New York commissioned Shaw in 2010 to compose music based on artwork in their collections. Other pieces were specifically composed with his new quartet in mind, with recent life experiences both sad and joyous as inspiration.

Celebrating their 25th anniversary this year, New York Voices is the Grammy Award-winning vocal ensemble renowned for their excellence in jazz and the art of group singing. Like the great groups that have come before, such as Lambert, Hendricks and Ross and the Manhattan Transfer, they have learned from the best and taken the art form to new levels. For their new disc — Live — they’re captured in a 2008 performance with the famed WDR Big Band of Cologne, Germany. The program is a collection of the group’s old favorites with a few never recorded and/or new arrangements. There are lots of featured solos from the big band that break up the usual vocal palette and make it an altogether different NYV experience.

Pianist Aaron Diehl is a 2007 graduate of the Julliard School where he studied with Kenny Barron and Eric Reed. He has performed with Wynton Marsalis, Hank Jones and Benny Golson, among others, and has been featured on Marian McPartland’s “Piano Jazz” radio program. His current quartet initially took shape in 2008 when he was asked to play a concert of John Lewis’ music. In April 2011, Diehl states, “I thought it would be wise to use the opportunity to document this ensemble. I decided to compose and arrange music in line with our own sound and conception, while using the strategies of bandleaders like Duke Ellington, who developed their music in line with the abilities of their personnel.” The result is his debut release with a quartet, “The Bespoke Man’s Narrative.”

Smith was a co-founder of Nossa Bossa, a Brazilian jazz quartet garnering excellent reviews throughout the bay area. The band helped introduce the Bose PAS system, a new kind of amplification system. In 2008, Smith returned to Iowa and teamed with Bassist Richard Wagor. The duo recently released a CD called Iowa Duets.

7 p.m. following JazzSet.

“Unit 1” is the debut release from the power trio of Grammy Award-winning bassist Mark Egan, multi-dimensional drummer Karl Latham and master guitarist John Hart. Embracing jazz, rock, Brazilian, funk and world music sensibilities, the trio takes the listener on a highly improvisational jamming journey creating modern interpretations of nine jazz standards reminiscent of Tony Williams Lifetime and Miles Davis’ Live Evil.

“Hagar’s Song” — the newest release from Charles Lloyd — is an interactive duo recording with Jason Moran, the star pianist who has been a key member of Lloyd’s latter-day quartet. The CD is a collection of intimacy and homage featuring pieces especially dear to Lloyd, ranging from compositions by Strayhorn, Ellington and Gershwin to those by Brian Wilson and Bob Dylan. The centerpiece of the disc is the title suite composed by Lloyd and dedicated to his great-great-grandmother, who was taken from her home in south Mississippi at age 10 and sold to another slave-owner in Tennessee. The disc comes in time to help mark the saxophonist’s 75th birthday on March 15.

On her 2011 album, Hiromi sought to capture people’s “inner voices” and strove to create what she called a “three-dimensional sound.” For that release, the Japanese pianist and composer assembled a trio that included two veteran players-bassist Anthony Jackson and drummer Simon Phillips. While on the road, Hiromi started writing music for the follow-up, “Move” “Because I had been playing with Anthony and Simon for quite a bit, I just started to understand their characteristics, and I could find a hidden gem in their playing,” she explains. “As a composer, I really wanted to write the songs especially for them, and I wanted to extract the unique beauty of their playing.”

When Nilson Matta was a young child in his native Brazil, his father brought home an LP of the music from the play Orfeu da Conceicao by the playwright Vinicius de Moraes, which retells the Greek legend of Orpheus and Eurydice in the then-contemporary setting of Rio de Janeiro during Carnaval. Matta was entranced by the music composed by Antonio Carlos Jobim with lyrics by de Moraes. The burgeoning bassist’s attachment to the music only increased when the film version of the play, titled Black Orpheus, was released in 1959 with new songs by Jobim and Luis Bonfa. Five decades later, Matta’s long-time love affair with the music from both productions finds consummation with the new CD —“Nilson Matta’s Black Orpheus” — a jazz-flavored reimagining of the music featuring Randy Brecker, Kenny Barron and Gretchen Parlato.

Long known for his highly swinging recordings and performances, trumpet virtuoso Brad Goode also has his “other” side, first exposed on the 1988 release, “Shock of the New.”  Twenty-five years and 13 albums later, having established himself as a soloist of immediacy and warmth and a composer of striking originality, Goode is still stretching. With his culture-spanning band of Ghanian drummer Paa Kow, Brazilian bassist Bijoux Barbosa, Lebanese percussionist Rony Barrak, guitarist Bill Kopper and keyboardist Jeff Jenkins, “Chicago Red” also features Goode’s explorations in polytonal chord cycles-no less bold a break from standard procedure than fusion once was-to create an eclectic, electric and thoroughly grooving CD.

For most jazz trumpeters today, it must be difficult to walk the tightrope stretched between the pits of history and progress, but Jeremy Pelt has been doing it with ease. From his first professional gig with the Mingus Big Band through his 10 CDs as a leader, Pelt has maintained remarkable forward momentum. Today, at the peak of his powers, his bands have been lauded for their intense interplay which calls to mind Miles, Wayne Shorter and Tony Williams. It is the spirit of the 1969-70 Miles Davis that is conjured with Jeremy’s latest ensemble and newest recording, “Water and Earth.”

Throughout his life and career, Christian Howes has thrived on venturing outside of his comfort zone. He’s taken the violin into the relatively unexplored territory of modern jazz, combining classical training with soulful expressiveness; and he’s been on the vanguard of digital-age entrepreneurship with his online classes and virtual string orchestra. For his new CD — Southern Exposure” — Howes takes another unexpected turn, this time into the realm of Latin music, exploring a diverse range of repertoire from Brazil, Argentina, Cuba and Spain. His chief companion on the journey is French accordion master Richard Galliano, buoyed by the smoking rhythm section of bassist Scott Colley, drummer Lewis Nash and pianist Josh Nelson.