One of the worst weeks of my life, the psychic toll probably even worse than the physical. Don't know how I managed to get even this little bit done. Don't expect anything better for next week, or have any idea when or if I'm ever going to turn this around. It's just that when your velocity drops to zero, even short distances become infinite. I know this is getting to be a drag. Sorry about that.

Roswell Rudd: Trombone Tribe (2008 [2009], Sunnyside): As best I can figure this, five cuts from the officially designated Trombone Tribe band -- Deborah Weisz and Steve Swell joining Rudd on trombone, Bob Stewart on tuba, Henry Grimes on bass and violin, Barry Altschul on drums -- and ten more tracks representing various other trombone tribes, including one from Benin (the Gangbe Brass Band of Benin), one called Bonerama (Mark Mullins, Steve Souter, Craig Klein, and Eric Bolivar on trombone; Matt Perrine on sousaphone), Steven Bernstein's Sex Mob (with Rudd guesting on trombone), and a couple more tracks with an unannointed tribe featuring trombonists Ray Anderson, Eddie Bert, Sam Burtis, Wycliffe Gordon, Josh Roseman, and, of course, Rudd. In other words, a whole lot of big, heavy brass, fired up to celebrate. As a longtime trombone (not to mention Rudd) fan I can hardly turn my nose up at such riches. A- [Apr. 7]

Abdullah Ibrahim: Senzo (2008 [2009], Sunnyside): Solo piano from the great South African pianist, now approaching 75. Originals, many titles I recognized from his past records, strung together into a single, long meditation, with "In a Sentimental Mood" slipped in as yet another nod to his accidental mentor, Duke Ellington. I don't normally fall for solo piano, but none of the usual rationales seem to apply here -- in particular, the one that it takes too much effort to follow such intricacy. This one seems as natural as crystal streams flowing under gentle breezes, with an occasional figure to fix the location in mother Africa. A-

Zaid Nasser: Off Minor (2008 [2009], Smalls): Alto saxophonist, at last check had given up on New York and decided to check out the jazz scene in Armenia, but came back for a second album. Classical bebopper, smoother and slicker than Charlie Parker, maybe not as fast, but I figure he's just pacing himself. Quartet, with Sacha Perry making an impression on piano, Ari Roland on bass, Phil Stewart on drums. Only one original, called "Zaid's Slow Blues." Title cut is from Monk, good for a workout. "Moonlight in Vermont" and "You'd Be So Nice to Come Home To" respect their themes. Previous album, Escape From New York, is overdue for JCG recognition. Not sure if this is better, but it's at least as enjoyable -- pretty much what mainstream jazz should sound like these days. A-

Lars Danielsson: Tarantella (2008 [2009], ACT): Starting to get nervous with this string of A-list records, like I may be losing my critical mean streak. Still, this is a remarkably lovely record, with a lot of fascinating detail. Swedish bassist, b. 1958, with a substantial discography I've only barely touched; also plays cello and bass violin, which add to the details. Piano is by Leszek Mozdzer, who collaborated with Danielsson on the HM-worthy Pasodoble and is even better here in this richer context. Mathias Eick plays trumpet. His ECM debut was overrated, but he gives a nicely rounded performance here. John Parricelli plays odd bits of guitar that complement the bass nicely, and Eric Harland can go exotic on the percussion as well as do everything a drummer should do. A-

Gianluigi Trovesi: All'Opera: Profumo di Violetta (2006 [2009], ECM): By most reckoning, I shouldn't be able to stand this, but in fact I rather enjoy it. Billed as "a journey through Italian opera," with the clarinettist/saxophonist fronting a large orchestra -- the Filarmonica Mousiké, conducted by Savino Acquaviva -- it is music I've spent my whole life avoiding (not always successfully). It helps, I'm sure, that there are no words/vocalists, nor any strings other than Marco Remondini's cello. Pieces from Monteverdi, Puccini, Verdi, Rossini, some others less familiar, with bridgework and solos by Trovesi, bringing it halfway back to jazz. B+(*)

Enrico Rava: New York Days (2008 [2009], ECM): Quintet, with tenor saxophonist Mark Turner almost as laid back as the veteran trumpeter, and Stefano Bollani diddling on piano. The main thing that keeps this from slipping into dull is Paul Motian's oblique drumming strategies -- he never quite lands where you expect. Rava plays much as he has for the last decade, with elegant simplicity. B+(*)

White Rocket (2008 [2009], Diatribe): Irish trio with eponymous debut album. I filed it under trumpeter Jacob Wick, figuring him for the lead instrument; pianist Greg Felton matches Wick's four songs, and drummer Sean Carpio adds one more. Serious free jazz, often played off against repeated piano riffs. B+(**)

Jeff Albert Quartet: Similar in the Opposite Way (2008, Fora Sound): Trombonist, from New Orleans, has a Chicago connection that teamed him with Jeb Bishop in a group called the Lucky 7s. Quartet includes Ray Moore on alto sax, Tommy Sciple on bass, Dave Cappello on drums. Mostly free, but Albert has a little Trummy Young in his throat, and wouldn't mind tailgating if someone would pick up the pace. Doesn't happen often enough, but sounds promising. B+(*)

Michel Sajrawy: Writings on the Wall (2007 [2009], Ozella): Guitarist. Describes himself awkwardly as "a Palestinian of Christian faith who comes from Nazareth and has an Israeli passport." That places him among the minority of Palestinians in the territory that fell to Israeli hands in the 1947-49 war who neither fled nor were driven into exile. Those Palestinians were awarded Israeli citizenship in 1951 in a backhanded law to deny the citizenship and confiscate the property of the majority of Palestinians who fled for their lives. One old theme in Israeli propaganda talks about how much better off Arab Citizens of Israel are than Arabs in other countries (never to mention Palestinian exiles in the Occupied Territories), but you don't hear much of that anymore. They are second class citizens, subject to a social and economic segregation, continuously reminded that this land, peopled by their forefathers over countless generations, is not meant for them. Hence the awkwardness. Sajrawy studied electronic engineering 1990-93; moved to England in 1995, and studied at the London School of Music. He returned to Nazareth in 2000, setting up his own studio. Second album. (First is called Yathrib, the name of pre-Mohammedan Medina.) Quartet with piano, bass, and drums (alternating two drummers, unknown to me, but names worth repeating: Ameen Atrash and Evgeni Maistrovski). A piece of hype compares him to Hendrix, McLaughlin, and Al Di Meola. You can scratch the first two names off that list. I don't know enough of Di Meola or other influences like Pat Martino and Pat Metheny, but they certainly don't have Sajrawy's Arabesque swag, which adds an element to otherwise solid jazz guitar. B+(**)

David Binney: Third Occasion (2008 [2009], Mythology): Played this three times straight, and I'm not mentally up to it, so will put it back. Alto saxophonist, won Downbeat's Rising Star poll a couple years back, leading a top-notch quartet with Craig Taborn on piano, Scott Colley on bass, and Brian Blade on drums, plus an extra brass section with two trumpets and two trombones. Runs through all the moves you'd expect from a top tier alto saxophonist: a lot of racing and riffing, some slow curves. Pretty sure this will show up in more than a few year-end lists. Just not sure what I think of it. [B+(***)]

Joe Zawinul & the Zawinul Syndicate: 75 (2007 [2009], Heads Up, 2CD): Live concert, recorded in Hungary at Veszprem Festival, in August 2007 about a month before Zawinul died. Title is his age: 75. Zawinul's reputation is wrapped up with his fusion group, Weather Report. I never cared much for them, and I don't put Zawinul very far up in the jazz pantheon, but his eclectic exuberance served him well in his later years, where he was willing to fusion anything. He introduces a band here with members from Congo, Brazil, Morocco, and other points -- most of them sing, or chant or rap, and all of them add something vital. Weak spot is the superstar guest slot: I guess if Wayne Shorter wants to drop in and play "In a Silent Way" you can't turn him down. B+(**)

Tierney Sutton Band: Desire (2008 [2009], Telarc): Not half the concept happiness was (cf. On the Other Side), partly because she has trouble focusing ("Fever," "Cry Me a River," "My Heart Belongs to Daddy"), partly because she's not sure what to do with the material ("It's Only a Paper Moon" has an awful time getting going). "Love Me or Leave Me" suits her fine, but strays from the concept. The band earns their billing -- feels like an integral unit. B+(*)

Mark O'Connor's Hot Swing Trio: Live in New York (2004 [2009], OMAC): Fiddler, b. 1961, started off in bluegrass, where he won some early prizes -- at age 13, he recorded an album called National Junior Fiddling Champion. Has wandered around somewhat since then, recording a couple of albums with Yo-Yo Ma, assuming classical airs with titles like The Fiddle Concerto. In 2001 he dusted off his interest in Stephane Grappelli for the album Hot Swing!, and has followed that up with a couple more Hot Swing Trio albums. Trio includes Frank Vignola on guitar and Jon Burr on bass, presenting a rather monolithic string sound. Vignola knows this music well. O'Connor I'm not so sure about. B

Red Holloway: Go Red Go! (2008 [2009], Delmark): Saxophonist, mostly played alto way back when, but lists tenor first here. B. 1927, from Chicago, broke in in 1948 with Roosevelt Sykes, worked with Jack McDuff in the 1960s; managed to get some of his old soul jazz records recycled in Fantasy's opportuistic Legends of Acid Jazz series. This is another soul jazz date, with Hammond B3, guitar, and drums. One original, the self-explanatory "I Like It Funky." Title cut is from Arnett Cobb, a model. "St. Thomas" and "Bags' Groove" are highlights, and he even sneaks Jobim's "Wave" in. Closes with a vocal on a Sykes jive blues, "Keep Your Hands Off Her." Makes it all look easy. B+(**)

Craig Enright: La Belleza . . . (2008 [2009], CDBaby): Saxophonist, b. 1957 in Omaha, raised across the river in Cedar Rapids, IA; lives in Stamford, CT, close enough to NYC. Plays latin jazz -- wrote all the pieces here, ranging from "Iowa Folk Song" to "Bata Boogie." Quintet, with Enrique Haneine making waves on piano, Alex Hernandez on bass, Ludwig Alfonso on drums, and Aryam Vazquez on congas. Reminds me a little of Benny Wallace tonewise, which makes his speed and rhythm all the more impressive. B+(***)

No final grades/notes this week on records put back for further listening the first time around.

Unpacking:

• Yaala Ballin: Travlin' Alone (Smalls)
• Dave Bennett: Dave Bennett Celebrates 100 Years of Benny (Arbors)
• Garvin Bushell: One Steady Roll (1982, Delmark)
• Ersatzmusika: Songs Unrecantable (Asphalt Tango)
• Béla Fleck: Throw Down Your Heart: Tales From the Acoustic Planet Vol. 3: Africa Sessions (Rounder)
• Derrick Gardner & the Jazz Prophets + 2: Echoes of Ethnicity (Owl Studios)
• Red Holloway: Go Red Go! (Delmark)
• Helge Lien Trio: Hello Troll (Ozella)
• Rob Mazurek Quintet: Sound Is (Delmark)
• Madeleine Peyroux: Bare Bones (Rounder): Mar. 10
• Scott Reeves Quintet: Shape Shifter: Live at Cecil's (Miles High): Mar. 17
• Bob Rodriguez: Portraits (Art of Life)
• Michel Sajrawy: Writings on the Wall (Ozella)
• Antti Sarpila Quartet: We'd Like New York . . . in June! (Arbors)
• Radam Schwartz: Blues Citizens (Savant): Mar. 3
• The Joel Larue Smith Trio: September's Child (Joel Larue Smith)
• Allen Toussaint: The Bright Mississippi (Nonesuch)