Spent most of the week playing already-rated records. Managed to write a few more reviews -- enough to call this round done, and to have a huge leg up on the next one. Don't have much new prospecting to show, but I might as well dump what I have given that this is the end of the round. Presumably the column will appear sometime in March, and I'll start working on the next one this week. Should have a surplus cull before long, too.

Mulatu Astatke: New York-Addis-London: The Story of Ethio Jazz 1965-1975 (1965-75 [2009], Strut): The guy who got away from Swinging Addis while the getting was good. Working from an advance with no doc, I can only guess where and when these scattered singles came from or who does what on them. Christgau reports that eight are dupes from the Addis-rooted Éthiopiques 4, which I've checked out on Rhapsody and find more/less as inspired. One thing I note here from his New York and/or London wanderings (or Boston or wherever else) is a flirtation with Latin jazz, which he spices up subtly. A- [advance]

Pete M. Wyer: Stories From the City at Night (2008, Thirsty Ear): Spoken voice or artsong -- a couple remind me of Kurt Weill, but they can get more operatic. Music, which mostly consists of Wyer's guitar and "sound design" with scattered guests -- trumpet on one song, trombone on another, Matthew Shipp's piano for one cut, Matthew Sharp's cello for three -- is interesting but scattered in a soundtrack sort of way. Can't say as I've followed it closely enough to know how it hangs together, which might make a difference. B

Eli Yamin: You Can't Buy Swing (2008, Yamin Music): CDR with a thermal print cover sheet in a slim jewel case, just the formula for a record I didn't notice for two years. Yamin is a pianist, b. 1968 in East Patchogue, NY; based in New York City; director of Jazz at Lincoln Center's Middle School Jazz Academy; has one previous album. This one includes Ari Roland on bass, Alvin Atkinson on drums, and two saxophonists: Lakecia Benjamin, whom I've never heard of, and Chris Byars, a favorite (except when he plays flute). Swings more than anything else, with a buoyant rhythm section and some tasty sax bits. B+(*) [advance]

Beaty Brothers Band: B3 (2007 [2008], Beaty Brothers): LP-style slipcase, probably a final product although it looked at first like an advance to me -- some labels do just that, but it seems unlikely that a self-release would. Brothers are John Beaty on alto sax and Joe Beaty on trombone. Band adds Yayoi Ikawa on piano (sounds electric), Jim Robertson on bass, Ari Hoenig on drums -- the latter is the only one I'm familiar with. Postbop, no real effort to take advantage of the electric instrument(s), and fairly limited solo power. B

Chris Greene Quartet: Merge (2009 [2010], Single Malt): Saxophonist, from Evanston, IL; studied at University of Indiana; returned to Chicago. Fifth album since 1998. Album pictures him with a tenor sax; website with a soprano. Grew up listening to funk, which comes through especially in the three originals that kick off the album. After that this leans more postbop, although I'm occasionally reminded of Illinois Jacquet. Group includes piano-bass-drums, no one I've heard of, although pianist Damian Espinosa wrote one song and takes a few notable solos. B+(**) [Apr. 6]

Edward Ratliff: Those Moments Before (2009, Strudelmedia): Bills himself as "composer, multi-instrumentalist" -- plays accordion, cornet, trumpet, trombone, and celeste here, the latter a rather rudimentary solo on the closer. I think of him as a soundtrack composer because his previous album, Barcelona in 48 Hours was a soundtrack, but he called the one before that Wong Fei-Hong Meets Little Strudel, and even this more generic album starts with Marelene Dietrich on the cover. He works in a pastiche of styles, the sort of thing adaptable to film. The accordion leans into European genres, while the horns complement various combinations of Michaël Attias (alto/baritone sax), Beth Schenck (soprano sax), and Doug Wieselman (clarinet). B+(***)

Chicago Underground Duo: Boca Negra (2009 [2010], Thrill Jockey): Rob Mazurek (cornet, electronics) and Chad Taylor (drums, vibes, mbira, computer, electronics). They've been the core of various Chicago Underground duos, trios, and quartets going back to 1998. The duo format doesn't seem much more stable than a two-legged stool, but they don't just give and take here, although they do try a lot of different variations. "Confliction" stands out as an unusually raucous piece: heavy drumming, rapid cornet riffs, so much momentum you never sense the lack of a bassist. B+(**)

Eri Yamamoto Trio: In Each Day, Something Good (2009 [2010], AUM Fidelity): Piano trio, with David Ambrosio on bass and Ikuo Takeuchi on drums. Yamamoto moved from Japan to New York in 1995 and soon put this group together, now with 6 albums to show for 14 years collaboration. Bright, fluid, quite likable, a performance level she consistently achieves. Don't have much more to say. B+(*)

Charles Evans/Neil Shah: Live at Saint Stephens (2009, Hot Cup): Evans plays baritone sax; had a solo record called The King of All Instruments that held up pretty well. Shah plays piano, and has a previous album I haven't heard. (Also reportedly sings, but not here.) Like so many duos, a lot of thoughtful interplay but nothing really takes off. B+(*)

Daniel Smith: Blue Bassoon (2009 [2010], Summit): Bassoon player, b. 1939, started out in classical music where, among many other performances, he produced a 6-CD set of 37 Vivaldi bassoon concertos. Not sure about his discography -- AMG classifies him as classical and is pretty spotty; on the other hand, his own website lists more records but no dates -- but it looks like Baroque Jazz and Jazz Suite for Bassoon were transitional. I've heard two of his jazz efforts -- one themed to bebop, the other to swing -- where he struck me as little more than a novelty. This one's a novelty too -- the bassoon has a thin, deep sound, combining the immobility of a bass sax or tuba with the sonic charm of a kazoo -- but it's so good natured it would be churlish to complain. Mostly jazz standards -- Silver, Parker, Rollins, Coltrane, Mingus, Morgan, Adderley, Shorter, etc. -- plus a couple of blues. Help on piano and guitar. 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.

The Heliocentrics: Out There (2007, Now Again): Presumably Sun Ra-inspired, although an association with DJ Shadow has sharpened up their beats, and their jazz credentials are unsure. Still, they first came to my attention playing with Mulatu Astatke, and the difference they made between Astatke's old Ethio-Jazz and his Information Inspiration is not just beatwise -- they also improvise more around the beat. Subtract Astatke and you get this, which is more dancefloor and more soundtrack but only around the frilly edges. B+(***) [Rhapsody]

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

Brinsk: A Hamster Speaks (2008, Nowt): A concept album about hamsters singing arias over "metal-based rhythmic structures." The horns -- trumpet, tenor sax, euphonium -- keep it in the jazz realm. (There are no vocals, so don't worry about that.) I didn't get it the first time, and I don't get it now. It does seem likely that the group name is derived from bassist Aryeh Kobrinsky's name. B+(*)

3 Play +: American Waltz (2009, Ziggle Zaggle Music): Odd group name, with a nonsequitur album name. Group is a quartet with two significant guests -- guitarist Mick Goodrick and tenor saxophonist George Garzone. Pianist Josh Rosen is the probable leader, but trumpeter Phil Grenadier is much better known, almost on par with the guests. I kept playing this, 4-5 times this round. It's never annoying, but I never grabbed onto any one thing to write about, except of course that Garzone is a national treasure, but you know that, right? B+(**)

Marcus Strickland Trio: Idiosyncrasies (2009, Strick Muzik): Clearly a rising star, but also clearly not an idiosyncratic one: he channels Coleman and Coltrane, Shorter, many others down through Donny McCaslin (but not Rollins or James Carter), but he has yet to produce a breakthrough album that stands on its own. Trio format keeps him up front, but switching away from tenor sax gives up some edge -- sure, he does play soprano better than most tenor men. Helps that his twin brother is every bit as good a drummer. B+(**)

Some more re-grades as I've gone through trying to sort out the surplus (and/or Rhapsody records re-evaluated for real):

Mulatu Astatke/The Heliocentrics: Inspiration Information (2009, Strut): [was (Rhapsody)] A-

Borah Bergman Trio: Luminescence (2008 [2009], Tzadik): [was (Rhapsody)] A-

Dennis González/Jnaana Septet: The Gift of Discernment (2008, Not Two): [was (Rhapsody)] A-

Boban i Marko Markovic Orkestar: Devla: Blown Away to Dancefloor Heaven (2009, Piranha): [was (Rhapsody) B+(***)] A-

Quartet Offensive: Carnivore (2008 [2009], Quartet Offensive): [was: B+(**)] B+(***)

Roberto Rodriguez: The First Basket (2009, Tzadik): [was (Rhapsody)] B+(***)

Roberto Rodriguez: Timba Talmud (2009, Tzadik): [was (Rhapsody)] A-

Matt Wilson Quartet: That's Gonna Leave a Mark (2008 [2009], Palmetto): [was (Rhapsody): B+(***)] A-

John Zorn: Alhambra Love Songs (2008 [2009], Tzadik): [was (Rhapsody)] A-

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

Unpacking: Found in the mail this week:

• Juhani Aaltonen Quartet: Conclusions (Tum)
• Absolute Ensemble: Absolute Zawinul (Sunnyside)
• Sheryl Bailey: A New Promise (MCG Jazz)
• John Blake Jr.: Motherless Child (ARC): Mar. 2
• Salvatore Bonafede Trio: Sicilian Opening (Jazz Eyes)
• The Ian Carey Quintet: Contextualizin' (Kabocha): Feb. 16
• Steve Colson: The Untarnished Dream (Silver Sphinx)
• Scott DuBois: Black Hawk Dance (Sunnyside): Mar. 9
• Amir ElSaffar/Hafez Modirzadeh: Radif Suite (Pi): Mar. 23
• Carl Fischer & Organic Groove Ensemble: Adverse Times (Fischmusic)
• Tord Gustavsen Ensemble: Restored, Returned (ECM)
• Kalle Kalima & K-18: Some Kubricks of Blood (Tum)
• Mike LeDonne: The Groover (Savant)
• Carolyn Leonhart: Tides of Yesterday (Savant)
• Brad Mehldau: Highway Rider (Nonesuch): advance, Mar. 16
• Paul Motian/Chris Potter/Jason Moran: Lost in a Dream (ECM): advance, Mar. 9
• Michael Pagán Trio: Three for the Ages (Capri)
• Dan Weiss Trio: Timshel (Sunnyside): Mar. 16