40+ watts SET, cost is not a problem

If you are really insisting on SET, and want the best of that sound, to me it is low-powered SET, and anything close to 40 wpc is out of the question.  I have only heard a few 833 and 1610 and other high-powered SETs, and never in a system I am familiar with, and I did not think the sound was special.  If the speaker is not well suited to SET use, why would you want to either shoehorn in a less than ideal amp, or take the opposite approach--shoehorn in an inappropriate speaker into a SET-based system.

The best sort of higher-powered SET amps I heard were Audio Note Gaku-On monobloc amps (parallel 211 SET) that sounded great with a wide range of speakers, including somewhat difficult speakers like Harbeth 40.3s.  But, those amps cost as much as a house.

I personally don't subscribe to the notion that SET amps deliver the very best sound if one can live within their restricted power output.  I do like the sound of some of them (I own an Audio Note Kageki parallel 2a3 SET amp), but it is not even my favorite among my own amps; that honor goes to a 349 pentode amp.  The best ever amps I've heard were a custom built OTL amp and the very ancient Western Electric 59A amp (252 pentode amp).

I have heard the Jinro in several systems, including one with AN-E speakers where I am familiar with its sound.  The Jinro is a good sounding amp, but, it seems just a bit too laid back and not as exciting and vivid as I like.  

For a non-SET amp with 100 watt or so power, I am a big fan of the Synthesis Audio A100 amp (KT 66 tube).  This is a punchy, lively, and warm sounding integrated amp that also has a built in DAC that is pretty decent.  That it is a screaming bargain makes it hard for some people to consider it in a very high end system.  Perhaps one of the Synthesis separates, then, for those who want to spend more than the price for the A100.  

The Gaku-On that I am familiar with is an older Audio Note (uk) amp.  It is a quite versatile amp that sounded good with any speaker I heard it paired.  I have not heard much Kondo gear.  The one extensive experience I had was when I auditioned a pair of Stax 007 Omega2 headphones.  I bought the headphones based on the audition, but, when I told the dealer I was not getting as good sound from the phones as I heard in his audition, he replied: "of course not, you heard them through a Kondo M-10 and you don't own anything like that."

I have not heard the new WE amp myself.  But, an old-school Western Electric fan who knows a lot about amps did hear it and thought it sounded quite bad.  You must hear it for yourself. 

As for non-SET alternatives, I mentioned the Italian brand Synthesis.  I have no idea about the specific topology, but, I do think that they sound good.  At a local dealership, a shockingly expensive array of amps have been traded in favor of much cheaper Synthesis amps, including Jadis and Audio Note amps that cost more than twice the price.  There are custom builders that probably can make something that would fit your requirements, such as Aric Audio and Don Sachs.

Although some Atmasphere output transformerless (OTL) amps are voice a little bit leaner than my personal preference, they make wonderful sounding amps--extremely lively and immediate sounding without being harsh or analytical.  I liked the MA-2 model I heard.  But, because they don't have output transformers, they tend to have a high source impedance that may not work well with low impedance speakers so you should consult with them.  Every serious listener should at least experience the sound of a good OTL amp even if they don't ultimately fit one's bill.

If you want something a bit less polite than Audio Note, the Atmasphere linestages and preamps are quite good--very clean, clear, and not overly warm, yet they don't sound harmonically bleached out.  

You did not specify what features you require in the linestage.  To me, remote control is not just a convenience, it is a necessity.  There tends to be a fairly small range of volume one wants to listen to music, and that setting can change even within a single recording.  It is quite hard to tell when the volume is right unless you can do it with remote control while sitting in the ideal spot.  With tube gear in particular, a balance control is essential.  The system will inevitably develop minor channel imbalances and one can go mad chasing down the cause or instantly cure the issue with judicious use of a balance control.

I liked what I heard and saw with the Backert linestages--nice sound, simple design, remote volume control, balance control, and serious people backing the product.

I have heard quite a few different brand set ups and I don't think it is necessarily a problem.  Any purchase without an audition in the particular system poses some risk.  It is not necessarily the case that a general sound of a component will carry forward into every system so any prediction on compatibility is a bit fraught.  Perhaps your best best is working with a custom builder who can "voice" the component/system after the purchase.  

I've heard, and generally liked the Berning amps I've heard.  I don't care if they are, or are not, true output transformerless amps  (OTL).  To me, they have that immediate, exciting and vivid sound of OTL amps.  But, like ANY amp choice, it does come down to personal preferences.  For my taste, Bernings are on the slightly too lean sounding side.  But, I suspect that the OP IS looking a bit in that direction so they are certainly good candidates.  

I know the OP is looking for some fairly high end amplifier/linestage combinations.  Still, I think there are some shockingly good value amps that should at least be auditioned.  Again, Synthesis Audio makes super bargain amps that I would be perfectly happy to use in my system.  They do make some fairly pricey high-powered amps, but my personal preference is for the amps that run the KT-66 tube and the best from them is a pair of monobloc amps that cost "only" $20k or so.