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.

Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with the most celebrated artists of the last half-century and it’s no wonder Green has been hailed as perhaps the most exciting, hard-swinging, hard-bop pianist to emerge from Art Blakey’s Jazz Messengers. For his new CD — “Magic Beans” — Green has crafted ten new pieces performed by his working trio, featuring bassist Peter Washington and drummer Kenny Washington. Remarkably, this release marks Benny’s first self-produced trio recording of all original compositions in a career that spans decades: notably as a star sideman with Blakey, Betty Carter, Freddie Hubbard, and Ray Brown and culminating in over 20 years as a leader.

In 1962, Duke Ellington recorded a trio date with bassist Charles Mingus and drummer Max Roach that is today considered one of the pivotal jazz recordings of the ’60s. The resulting disc was, among other things, a commentary on the perennial tug-of-war between art and commerce. In some ways, the songs were intended as a sort of counterbalance to the capitalist bent of the “Mad Men” generation. Fifty years later, the precarious balance in the world of jazz hasn’t changed much. Enter drummer Terri Lyne Carrington, who enlists the aid of keyboardist Gerald Clayton and bassist Christian McBride, to pay tribute to Duke, his trio and his creative vision with “Money Jungle: Provocative in Blue”, her interpretation of his historic recording with guests Clark Terry, Lizz Wright, Herbie Hancock and others.

Following up on their live release of a few years back, the Michigan-based trio Organissimo emerges from the studio with “Dedicated” — a stunning collection of soul jazz for modern ears. Formed in 2000, the trio has wowed audiences across the globe with its unique take on the jazz organ tradition. The new disc not only extends that illustrious heritage but also introduces the band’s new guitarist, Ralph Tope, whose playing adds a visceral immediacy to the band. Featuring ten new original songs and one very funky cover, the album is laid-back, swinging jazz infused with soul.

Master trumpeter Ron Miles injects his radiant, lyrical tone directly into the lifeblood of American music on his latest release, “Quiver.” A compelling, inviting trio date with guitarist Bill Frisell and drummer Brian Blade, the disc combines the singing melodicism of America folk music, the heightened communication of the most progressive jazz forms, and an entrancing, airy openness. “I conceived it so that there was a lot of space in the music,” Miles comments, “which just makes it a perfect vehicle for Brian and Bill, who are so purposeful in the way they think through a phrase with all of the silences intact and create all of this motion and energy without any wasted gestures or by playing a whole bunch of notes.”

http://www.npr.org/event/music/169066093/live-from-sfjazz-center-opening