Still in mid-winter doldrums, but after several dry weeks, there's enough here to post. Only minor progress on Jazz CG, but it will come along soon. Mail has been generally light the last few weeks, but 2010 is starting to pile up.

The Second Approach Trio With Roswell Rudd: The Light (2007 [2009], SoLyd): Russian group, has seven albums since 1999, plus various collaborations. Consists of Andrei Razin on piano, Igor Ivanushkin on bass, and Tatyana Komova singing or otherwise exercising her voice, with all three credited with percussion. Razin plays a little bit of everything, ranging from plaintive accompaniment to rough and ready avant-garde. In the latter context, Komova can hurl sounds against the wall, and is remarkably engaging at it. Rudd stopped in Moscow on his way back from a Siberian engagement with Tuvan throat singers, and he reminds you that he can hold his own in any avant-garde circus, as well as dash off a touching solo. B+(***)

Albert Ammons/Henry Brown/Meade Lux Lewis/"Cripple" Clarence Lofton/Pete Johnson/Speckled Red: Boogie Woogie Kings (1938-71 [2009], Delmark): Your basic boogie woogie piano sampler with some vocals; Lofton's six cuts are the oldest; Red, with four cuts including a previously unreleased (and relatively mild) "Dirty Dozens" is the most recent; Lewis gets three sharply played cuts, plus one with the Ammons-Johnson-Lewis triumvirate. B+(**)

Memphis Nighthawks: Jazz Lips (1976-77 [2009], Delmark): Trad jazz band formed at University of Illinois by clarinetist Ron DeWar, with trumpet (Steve Jensen), trombone (Joel Helleny), bass sax (Dave Feinman), guitar (Mike Miller), and drums (Bob Kornacher) -- didn't recognize any names, but all but the drummer and the leader have notable credits lists. They cut this album for Delmark, another live shot, and quit. Delmark dug up five previously unreleased cuts to fill out the CD length. In some ways this is like every other trad jazz revival project, but the horn layering is subtle and powerful, and the guitar-drums rhythm cooks. B+(***)

Harry Allen: New York State of Mind (2009, Challenge): A follow-up to his Hits by Brits: I suppose Hits by Yanks would have seemed too broad, just as a London-themed album would have been too narrow. Not sure that it's such a good idea to drag Billy Joel into this, but his "New York, New York" is decidedly tender, and almost everything else swings powerfully. Half quartet, half with trombonist John Allred added -- latter half is better. B+(**)

Oliver Jones/Hank Jones: Pleased to Meet You (2008 [2009], Justin Time): The younger Jones is a Canadian, 65 now, grew up under the spell of Oscar Peterson, has been a favorite of his Canadian label since 1984, with a couple dozen albums in the catalog -- titles like Speak Low Swing Hard and Have Fingers, Will Travel. The elder Jones is 90, born seven years before than Peterson, who died before this session, drafting it into something of a tribute. Piano trio plus extra piano. These things rarely work, but Oliver doesn't have to overstretch knowing that Hank's got his back, and Hank is a rare jazz genius who doesn't mind fitting in. Peterson might have tried playing both parts, and might have gotten away with it, but he couldn't have made this much piano power sound so effortless. B+(***)

Scott LaFaro: Pieces of Jade (1961-85 [2009], Resonance): Legendary bassist, almost exclusively known for his work in Bill Evans' trio culminating in Waltz for Debby and Sunday at the Village Vanguard -- the most essential records in Evans' considerable discography. He died in a car wreck in 1961 at age 25, leaving no records in his own name, but has grown in stature to the point where he regularly gets substantial votes in Downbeat's Hall of Fame poll. This release gives him something for the books, but it's pretty scattered. Five tracks pick up a trio session with pianist Don Friedman and drummer Pete LaRoca -- fine work, as you'd expect from Friedman. There follows a 22:44 rehearsal tape of LaFaro with Evans, a 13:39 interview with Evans talking about LaFaro from 1966, and a 6:23 Friedman solo, "Memories for Scotty," dating from 1985. All this is interesting but in the end it strikes me that we're reading more into his premature death than his short life warranted. He's not even unique in that regard -- cf. Ray Blanton, Richard Twardzik, and others who actually did leave more to chew on, like Charlie Christian, Booker Little, and for that matter Charlie Parker. B

Aram Shelton's Fast Citizens: Two Cities (2009, Delmark): Chicago sextet, with leader on alto sax, Keefe Jackson on tenor, Josh Berman on cornet, Fred Lonberg-Holm on cello, Anton Hatwich on bass, Frank Rosaly on drums. All lean avant, and they are capable of some energetic slicing and dicing, which is bracing when it works. Just doesn't work as often as it should. B+(*)

Jon Irabagon: The Observer (2009, Concord): Alto saxophonist, best known for his slash and burn approach to Mostly Other People Do the Killing. Won a Thelonious Monk Saxophone prize which came with a Concord recording contract. Some evidence that Concord tried to turn him into another Christian Scott, but he outfoxed them: held out for his own songs, compromised by getting a mainstream rhythm section, but held out for a really good one, best known for working with Stan Getz: pianist Kenny Barron, bassist Rufus Reid, drummer Lewis Nash. He blows rings around them, but they never lose a step. There's even a little duo with Barron -- not exactly like Getz, but lovely. Nicholas Payton slides in on a couple of cuts. Bertha Hope takes over the piano for one of three covers, one of her late husband's songs. Another cover is from Gigi Gryce, safe common ground. B+(***)

Empirical: Out 'n' In (2009 [2010], Naim): UK group, based in London, a quartet with Nathaniel Facey on alto sax, Lewis Wright on vibes, Tom Farmer on double bass, and Shaney Forbes on drums, expanded here with Julian Siegel on bass clarinet and tenor sax. The occasion for the latter is an interest in Eric Dolphy, who provides the two covers and inspiration for a Facey original, "Dolphyus Morphyus." B+(**)

Andy Haas/Don Fiorino: Death Don't Have No Mercy (2005, Resonant Music): Haas is a saxophonist (alto, I believe), who also plays piri, fife, and live electronics here, didjeridu elsewhere. He first appeared c. 1980 in a Canadian rock group called Martha and the Muffins -- their Metro Music was one of my favorite records that year. Since then he's worked with God Is My Co-Pilot, circulated in and around John Zorn projects, and landed with a group called Radio I-Ching. I liked their latest when I streamed it from Rhapsody, asked for a real copy, and got a lot of background material in addition. This is a duo with Fiorino, who plays guitar, lotar, banjo, and dobro. Some of this stuff is fascinating, including the stretched way out "Anthem" which you will recognize as "Star Spangled Banner," but it tends to wander especially when they get off their main instruments. B+(*)

Andy Haas: Humanitarian War (2006, Resonant Music): What's it good for? Absolutely nothing. Sorry, couldn't resist. The ten tracks are named for weapons, especially ones that are more oriented toward maiming than killing -- cluster bombs ("CBU 87 Steel Rain," "BLU108B Cluster"), anti-personnel mines ("PFM-1 Green Parrot," "Valmara 69"), "White Phosphorus" and "Depleted Uranium." "AGM-142 Have Hap" is an Israeli air-to-ground missile; "MK77 Mod 5" is a US incendiary bomb, updated napalm; "BLU 113 Penetrator" is a US bunker-busting "smart bomb." Solo improvs, with shofar and fife prominent on the instrument list. Educational, I suppose, but not very enjoyable. B

Andy Haas: The Ruins of America (2007-08 [2008], Resonant Music): Another solo job, which is inevitably its weak spot. Haas is credited with sax, piri, fife, live electronics and prepared loops, footnoting that the electronic sounds are processed from unnamed acoustic instruments. Two Brazilian tunes, but mostly Americana -- a lot of trad., a little Irving Berlin, the three part original title track split up into four pieces. Tends toward abstraction, deconstruction, sonic mischief. B+(*)

Radio I-Ching: Last Kind Words (2005-06 [2006], Resonant Music): Andy Haas once again (sax, fife, morsing, live electronics), Don Fiorino too (guitar, lap steel, banjo, lotar), but also drummer Dee Pop, invaluable for moving things along. Otherwise similar to the earlier albums by Haas (one with Fiorino): deep Americana like "Let My People Go" and "Battle Hymn of the Republic" and "Brother Can You Spare a Dime?"; also "The Mooch" and "Caravan" and "Song for Che." B+(*)

Radio I-Ching: The Fire Keeps Burning (2007, Resonant Music): The first in this series of records to break away from Andy Haas's peculiar interest in Americana, which pays immediate rhythmic dividends. Starts off with two Arab pieces (Mohamed Abdel Wahab, Hamza El Din), for good measure adding a piece of Count Ossie nyahbinghi. Second half has a jazz sequence -- Roland Kirk, Prince Lasha/Sonny Simmons, Thelonious Monk -- sandwiched between Captain Beefheart and Jimmie Driftwood. B+(**)

The Hanuman Sextet: 9 Meals From Anarchy (2006, Resonant Music): Radio I-Ching -- Andy Haas (sax, raita, morsing, live electronics), Don Fiorino (lotar & lap steel guitar), Dee Pop (drums, percussion) -- plus Mia Theodoratus (electric harp), Matt Heyner (bass, erhu), and David Gould (more drums, percussion). Two covers -- one from Jamaican saxophonist Cedric Brooks, the other "Everything Happens to Me" -- plus eight joint improvs. The latter are rather scattered, but rarely short of interest. B+(**)

Linda Oh Trio: Entry (2008 [2009], Linda Oh Music): Bassist, born in Malaysia, raised in Australia, based now in New York. Trio with Ambrose Akinmusire on trumpet and Obed Calvaire on drums, a nicely balanced arrangement. B+(***)

These are some even quicker notes based on downloading or streaming records. I don't have the packaging here, don't have the official hype, often don't have much information to go on. I have a couple of extra rules here: everything gets reviewed/graded in one shot (sometimes with a second play), even when I'm still guessing on a grade; the records go into my flush file (i.e., no Jazz CG entry, unless I make an exception for an obvious dud). If/when I get an actual copy I'll reconsider the record.

Bud Shank Quartet: Fascinating Rhythms (2009, Jazzed Media): Alto saxophonist, b. 1926, worked his way up through Charlie Barnet and Stan Kenton bands, one of the most distinctive figures in the west coast cool jazz universe; worked steadily until he cut this (presumably) last record, a live set at age 82, a couple of months before he died. Quartet with Bill Mays (piano), Bob Magnuson (bass), and Joe La Barbera (drums). Mostly well-worn covers, two possibly picked for their titles (Monk's "In Walked Bud," Jobim's "Lotus Bud"). Feels a bit rough edged, with some chatter, occasional harshness in his tone, ambling by Mays. Still, this has some awesome moments. B+(*) [Rhapsody]

And these are final grades/notes on records I put back for further listening the first time around.

Rez Abbasi: Things to Come (2008-09 [2009], Sunnyside): This is a great group but not quite a great record. Part of it is that guitarist Abbasi and alto saxophonist Rudresh Mahanthappa shine on their solos but they remain separate things. Part is that pianist Vijay Iyer doesn't shine even though he's the most talented player here. Part may be that Dan Weiss plays drums instead of tabla, which steers this toward American jazz instead of Indo-Pak. Then there is the matter of wife-singer Kiran Ahluwalia, who tries to steer the album back toward India on her four spots, leaving it a bit unhinged. Reminds me that no matter how much they like the idea of an Indo-Pak coalition, what they really like is being in the forefront of jazz back home in the USA. B+(**)

Wayne Wallace Latin Jazz Quintet: ¡Bien Bien! (2009, Patois): As Latin Jazz goes, this is well-ordered and consistently listenable -- especially if you're a trombone fan. The extra trombones don't hurt, but the vocals sometimes do. B+(**)

Mary Halvorson & Jessica Pavone: Thin Air (2008 [2009], Thirsty Ear): Guitarist and violinist respectively; both sing some, but not well. Halvorson has occasionally played brilliantly in the past, but there's little evidence of it here, in what is roughly speaking jazz chamber anti-folk. Obliquely primitivist when they're just playing, suggesting little talent and no finesse, but something distinctive. Can't say anything nice about the vocals. (Note unusually big drop from first round.) B-

Michiel Braam's Wurli Trio: Non-Functionals! (2009, BBB): Dutch pianist, plays a Wurlitzer electric piano here along with bass and drums or some such like. Something of a more modern organ groove, or a swing around from EST -- not really fusion, but more playful than serious avant-gardists like to present themselves. B+(**)

For this cycle's collected Jazz Prospecting notes, look here.

Unpacking: Found in the mail the last several weeks:

• Big Crazy Energy New York Band: Inspirations, Vol. 1 (Rosa): Feb. 16
• Hadley Caliman: Straight Ahead (Origin)
• Bill Cunliffe/Holly Hofmann: Three's Company (Capri)
• Dan Dean: 251 (Origin)
• John Ellis & Double-Wide: Puppet Mischief (ObliqSound): advance, Feb. 23
• Roberto Fonseca: Akokan (Enja/Justin Time): Feb. 16
• Abdullah Ibrahim & WDR Big Band Cologne: Bombella (Sunnyside): Feb. 2
• Jon Irabagon: The Observer (Concord)
• Dave King: Indelicate (Sunnyside): Feb. 2
• Pete Lockett's Network of Sparks: One (Summerfold): Jan. 25
• Pat Metheny: Orchestrion (Nonesuch): Jan. 26
• Paul Meyers Quartet: Featuring Frank Wess (Miles High): Feb. 16
• Mostly Other People Do the Killing: Forty Fort (Hot Cup)
• Neel Nurgai: Neel Murgai Ensemble (Innova): Jan. 27
• Maria Neckam: Deeper (Sunnyside): Feb. 2
• Dave Nelson & the 32nd Street Quintet: 32nd Street (Independently Released): Mar. 1
• Vince Norman/Joe McCarthy Big Band: Bright Future (OA2)
• Linda Oh Trio: Entry (Linda Oh Music)
• Opsvik & Jennings: A Dream I Used to Remember (Loyal Label)
• Kat Parra: Dos Amantes (JazzMa)
• Gail Pettis: Here in the Moment (OA2): Jan. 12
• The Respect Sextet: Sirius Respect (Mode Avant)
• RG Royal Sound Orchestra: Impact (RG): Feb. 2
• Dave Sharp's Secret Seven: 7 (Vortex Jazz)
• John Stein: Raising the Roof (Whaling City Sound)
• Ali Farka Touré & Toumani Diabaté: Ali and Toumani (Nonesuch): advance, Feb. 23
• Mort Weiss: Raising the Bar (SMS Jazz): Feb. 16
• Aaron Immanuel Wright: Eleven Daughters (Origin)