For the ii-V in bars 9-10 I am "ignoring" the ii chord and focusing on the V7alt chord. A lot of players do this, but a lot don't. I used that approach in this lesson to get the idea of the altered scale out there without complicating things too much right away. The next step would be to add the iim7b5 scale, and in this case I would stick with D Locrian as it has the Eb in it, which is related to the tonic key of C minor.
For the Gm7b5 in meaure, again in this case I "ignored" it and focused on the C7alt chord when choosing a scale for blowing, but if I were to play over it I would use G Locrian because it contains the Ab note which relates it closely to the key of F minor, where it resolves in the next bar.
I don't really think of Ab major over C7alt and Eb major over G7alt. I know some people do this, it's the opposite of what I did because it "ignores" the V7alt chord in favor of the iim7b5 chord. But I wouldn't recommend this because the sound of V7alt to im7 is so strong that if we are going to leave out one of the chords it should be the ii not the V. That way you still get a strong tension-release sound between V and i.