Round 17 of prospecting for Jazz Consumer Guide is now officially closed. The column itself still needs a bit of polish, but will go to the editor in a couple of days, and will be published, well, God knows when -- probably sometime in September. Historically, columns have come out pretty regularly on three month intervals. This time I took four months for prospecting, starting April 7 and ending August 4, 2008. Main reason for the delay was the death of Kalman Tillem, my father-in-law. I took two trips to Detroit during this period, totalling about five weeks. I had actually expected to get this column done in short order, given how much I had leftover from last time. Sorry about that. Can't really predict about next time. My carryover is a little less than usual, but I actually have quite a few records already identified, easily enough to fill up the next column if I just buckle down and write them up.

The total number of records prospected this round is 291, up from 240 last round and 259 the round before. Unrated records in the queue total 156. I don't have that number handy for previous rounds, but I think it's growing slowly. In other words, I'm starting to fall behind. I've always taken the position that I'll listen to everything I get, but there are a few records in the queue I haven't gotten to in over a year -- especially advance promos that looked marginal to start with. I'm certainly feeling swamped. But I'm also feeling relieved. And since I spent a good part of the week playing things I had already rated A-, I'm feeling better about the state of the art.

One thing I want to do in the next week is take a very hard look at the done file, 122 records strong at present, and move at least half of that into the surplus, writing up notes on a lot of records that deserve Honorable Mentions but due to space (and sometimes my loss for words) won't make it. The big fact of my life right now is that I'm living in way too much clutter. I really need to take control of that.

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Louis Mazetier: Tributes, Portraits and Other Stories (2007 [2008], Arbors): Vol. 18 in Arbors Piano Series, a set of solo piano showcases for mostly obscure, mostly old-fashioned pianists. Mazetier was born 1960 in Paris. He's played in the French trad jazz group Paris Washboard, and recorded a couple of albums under his own name for Stomp Off. Stride pianist, starts off with a sparkling take on James P. Johnson's "You've Got to Be Modernistic." Contributes 10 originals out of 22 songs. B+(**)

Ulf Wakenius: Love Is Real: A Tribute to Esbjörn Svensson (2007 [2008], ACT): Swedish guitarist, b. 1958, has a dozen or so albums since 1992, mostly mild-mannered, likable affairs. Has played with Oscar Peterson from 1997 to the pianist's death. Last album our was shaped as a tribute to Keith Jarrett -- its simple elegance turned into one of the most pleasing albums I've heard in many years. This one looks like it suffers from Second System Complex -- when at first you succeed, try something grander and riskier -- but it comes together marvelously. The string quartet (name: radio.string.quartet.vienna) provides a groundswell of rich textures, discreet use of guest horns (trumpeters Til Brönner and Paolo Fresu on one cut each, trombonist Nils Landgren on another) shifts the focus around, and someone named Eric Wakenius -- I'd guess the leader's son -- grafts on an electric guitar solo from another generation. The fancy stuff works because the core quartet -- Lars Jansson (piano), Lars Danielsson (bass, cello, effects), and Morten Lund (drums, cajon, percussion) -- is so solid, and because Svensson's songs have some snap, crackle and pop to them. A-

Joel Harrison: The Wheel (2008, Innova): This is the third record in the last couple of days by a guitarist working with a string quartet -- an idea that I basically dread, but the first two (Bill Frisell, Ulf Wakenius) came off quite successfully, not least because they cheated convention. Harrison, however, flies straight into the teeth of the framework, writing "a five movement suite for double quartet and guitar" -- one quartet is the standard set of strings, the other a piano-less postbop lineup with Ralph Alessi (trumpet/flugelhorn), Dave Binney (alto sax), Lindsay Horner (bass), and Dan Weiss (drums). The latter quartet actually sounds promising, but I didn't notice any horns first play; rather, there was an overgrown jungle of aggressive, menacing strings. At least this avoids the usual jazz-with-strings clichés: the modernism is brusque enough I'm reminded of the Stan Getz album Focus, but this is more unruly, and I've never had any doubts about the horn on Focus. This is the sort of album that leaves me with unresolved questions that don't promise to be worth the trouble to sort out. B+(*)

Gene Ludwig Trio with the Bill Warfield Big Band: Duff's Blues (2008, 18th & Vine): Ludwig plays organ. He was born 1937, started on piano, met Jimmy Smith in 1957, switched to organ. The other Trio members are Bob DeVos (guitar) and Rudy Petschauer (drums). Warfield plays trumpet. No credits for the rest of the Big Band, but there must be a mess of them: they play big and loud, with the requisite swing, tending to drown out their guests. B+(*) [Aug. 12]

Wayne Wallace: The Nature of the Beat (2008, Patois): Trombonist, b. 1952 San Francisco, studied at San Francisco state, privately with Julian Priester and Bobby Hutcherson, later at La Escuela Nacional in Havana. Plays Latin jazz -- the song labels also read: Latin funk, Cuban funk, Timba funk, Orisha jazz, cha cha, and bolero -- fronting a large band with lots of brass and percussion, and a herd of guest vocalists. The latter move the album into pop territory, which isn't a plus when they tackle a song like "Serpentine Fire." No such complaints about the trombone solos -- wish there were more. B

Brazilian Trio: Forests (2007 [2008], Zoho): Strange to name your group that. Brazil is a large country, and its place in the international music business is ever larger -- by most accounts, the second largest music market after the US. There must be dozens of Brazilian trios of note. Moreover, it's becoming increasingly clear that there is no typical Brazilian music: there are numerous indigenous styles, plus fusions with just about every manner of music from around the world, so what should we take the label to mean? (Other than that most Americans don't know diddley about Brazilian music?) On another level, the principals here have names which are recognizable -- at least I recognize them, which doesn't quite qualify them as household names -- so they have no need to lurk behind this cover. Indeed, the label shows a hint of recognizing this in that they list the names (albeit in small and poorly contrasting type) on the front cover: Duduka Da Fonseca (drums/percussion), Helio Alves (piano), Nilson Matta (bass). All write pieces (as well as Messrs. Lins, Pascoal, and Nascimento). Didn't expect much when I dropped this in, but Alves is as fluent in Bud Powell as in samba, and Matta feeds him an especially strong rhythm track in "Paraty." Will play it again. [B+(***)]

Hamilton de Holanda & André Mehmari: Continuous Friendship (2007 [2008], Adventure Music): Brazilians; de Holanda, b. 1976, plays mandolin; Mehmari, b. 1977, plays piano. Both have several previous albums -- de Holanda's more easily accessible on the US-based Adventure Music label. I'll take their word about the friendship, but it sounds to me like there is a lot of tension in these encounters, but maybe they're just intense (not the same thing as discordant). Impresive, but also wearing, and a little thin, as duos often are. B+(**)

CNY Jazz Orchestra: Then, Now & Again (2007 [2008], CNY): Big band, organized by the Central New York Jazz Arts Foundation, based in Syracuse, NY, under the musical direction of Bret Zvacek. I've never heard of any of the musicians here, or for that matter of Zvacek, who wrote 2 of 10 pieces and arranged several others. They all seem very capable, with respectable solos and solid ensemble work. More modernist than swing, although they can. My package says "CD/DVD Collector's Edition," but only has CD (not that I'm complaining). B+(*)

The Wee Trio: Capitol Diner Vol. 1 (2007 [2008], Bionic): Nice name concept for a Brooklyn-based vibes (James Westfall), bass (Dan Loomis), drums (Jared Schonig) trio. Westfall was born 1981 in Houston, and has an album under his own name. He and Loomis write three songs each here; the other four come from Kurt Cobain, Isham Jones, Sufjan Stevens, and Thelonious Monk. Small sound, but I particularly like the sparseness and the way the drummer shifts against time. B+(***) [Sept. 8]

Georg Breinschmid & Friends: Wien Bleibt Krk (2008, Zappel Music): Austrian bassist, b. 1973, based in Vienna. AMG lists him twice, once under classical, again under folk. Don't know about that, but his jazz project list includes: Pago Libre (not a founder, but on a recent record), Christian Muthspiel Trio, a trio with Beni Schmid (violin) and Stian Carstensen (accordion, both present here), a duo with Thomas Gansch (trumpet, also here), a duo with Agnes Heginger (vocals, also here), and a Charles Mingus homage sextet. Project here uses several of those groups plus a few extra guests. Five songs have vocals, including a funny one mostly in English. The instrumental pieces are mostly done with bass and two violins (3 cuts) or bass-violin-accordion (4 cuts); the only horn is Gansch's trumpet (2 cuts); no drums. Some waltz and tango pieces. Very Germanic, albeit with a fanciful sense of humor. B+(**)

Scott Hamilton & Friends: Across the Tracks (2008, Concord): Sorting out the last duds this cycle, I thought I should check Concord's recent roster to see what they weren't sending me. Aside from Telarc/Heads Up, which have been pretty steady, I did get Taylor Eigsti, but I haven't seen any trace of: Mindi Abair, Gerald Albright, David Benoit, James Hunter, Incognito, Sergio Mendes, Scott Hamilton, or David Sánchez. I don't much care about the front of that list, but Hamilton and Sánchez are two saxophonists I'm definitely interested in. Sánchez did one of the best Latin jazz records I've ever heard (Obsesion, back in 1998), and Hamilton has been a perennial favorite: the first and in many ways the best of the swing-oriented "young fogey" players to come up around 1980. His last two records made the Jazz CG A-list (Back in New York and Nocturnes & Serenades). This isn't as strong: a very relaxed set with Gene Ludwig on organ and Duke Robillard on electric guitar. B+(**) [Rhapsody]

David Sánchez: Cultural Survival (2007 [2008], Concord Picante): Tenor saxophonist, b. 1968 in Puerto Rico, eighth album since 1994, first not on major label Columbia. I don't really consider him a Latin jazz specialist, although his 1998 roots album Obsesion was all Latin and nothing short of glorious. He belongs to the Coltrane branch of the jazz mainstream, not far removed from Branford Marsalis, Joshua Redman, and Ravi Coltrane, and at least on their level. The 20:31 closer, "La Leyenda del Cañaveral," stands out as one of the major works of this group. The smaller pieces will need more study. B+(***) [Rhapsody]

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

Marilyn Mazur/Jan Garbarek: Elixir (2005 [2008], ECM): Many short pieces framed by unusual percussion -- Mazur's kit reads: marimba, bowed vibraphone and waterphone, hang, bells, gongs, cymbals, magic drum, log drum, sheep bells, Indian cowbells, udu drum, various drums and metal-utensils. Most are interesting, and the metallic bits are especially striking. Garbarek is a sensitive duettist, skillfully working his tenor and soprano sax, and flute, around Mazur's contours, and at his best is as hypnotic as a snake charmer. B+(***)

Jane Ira Bloom: Mental Weather (2007 [2008], Outline): Soprano sax specialist, plays pretty in front of a quartet that sometimes seems to be in revolt -- especially when the tempo picks up and bassist Mark Helias takes charge. Those are the most interesting moments here, but they are broken up by slow spots, where the weather turns balmy -- pleasant enough. B+(**)

Marilyn Crispell: Vignettes (2007 [2008], ECM): Solo piano, rather far removed from her early avant-garde exploits -- clearly, she's on her best behavior. Also seems more self-organized than her other well-behaved ECM albums. I'm tempted to recommend it as a puzzle, but not having any idea what the answer is I could be way off base. B+(**)

Jon Balke: Book of Velocities (2006 [2008], ECM): Solo piano, four chapter, nineteen pieces counting the epilogue, velocities ranging from slow to slow, sparse sketches you have to reach for. I don't dislike it, especially as background, but don't quite know what to do with it either. B

John Butcher/Torsten Muller/Dylan van der Schyff: Way Out Northwest (2007 [2008], Drip Audio): Vancouver label, two local musicians, a guest saxophonist from the UK who is a big name in very small circles. First pass I was blown away by this ugly free-for-all, but in returning to it I find myself less charmed. Butcher gets a lot of unorthodox sounds out of his saxes -- tenor and soprano -- but the clicks and pops could just as well come from bass or drums. B+(**)

Barnyard Drama: I'm a Navvy (2005 [2006], Barnyard): Toronto group, experimental rock, at best sounds like Captain Beefheart with, oh, Lydia Lunch singing -- singer's name is Christine Duncan. Jean Martin, who has some more jazz-oriented releases, is the drummer, plus there are two guitarists. A cut called "Sigh, Me Good" is built around a monster bass riff (no bass credit, so who knows?) with a lot of scattered electronic noise that almost cancels the effect. B+(*)

James Carter: Present Tense (2007 [2008], Emarcy): This record has been fairly well received, as well it should be. Carter is a remarkable talent, and any time you bother to pay him some attention is likely to be rewarded. Still, I can't tell you how many times I've played this record and not bothered to listen. With its Django Reinhardt and Gigi Gryce covers, quietstorm and hot club originals, it sounds like a pastiche of his past work. It does reassure me that his baritone rep isn't unfounded, but I still suspect he's playing a lot of the low stuff on tenor. He adds some flute here, which isn't bad but has opportunity costs. Pianist DD Jackson offers notable support, but doesn't get enough time either. Rodney Jones has some moments on guitar. I'm less impressed with trumpeter Dwight Adams, who riffs energetically but adds little. B+(***)

Ab Baars Trio & Ken Vandermark: Goofy June Bug (2007 [2008], Wig): Without going back to count, I'd guess there are at least a dozen records out where Vandermark just drops in to jam with some other more/less established group -- the Aaly Trio, the Gold Sparkle Band, and Zu are a few cases that pop to mind, with Aaly (that is, Mats Gustafsson) good for 3 or 4 records. Most of those groups are already well endowed in saxophones, but Vandermark nearly always manages to add something, often muscle. Still, the offhandedness of these encounters is self-limiting: they mostly sound like Vandermark jam sessions, which while full of creative sparks aren't exactly in short supply. This one is more varied than par, with clarinets as well as tenor sax (and a bit of shakuhachi from Baars), but also seems more scattered: Baars is more of an eclectic than an avant-gardist, and this shows up in his preponderance of pieces. Interesting guy, but I don't think he's managed to pull off a really convincing album yet. B+(**)

Jason Ajemian: The Art of Dying (2007 [2008], Delmark): Chicago Underground bassist, leads a trio Smokeless Heat with Tim Haldeman on tenor sax and Noritaka Tanaka on drums. For the studio sessions here the trio is expanded to a sextet, giving the composer more options and the musicians less. They try interesting things, but it sounds rather pro forma. At least until the last cut, a 23:54 radio shot with just the trio, no clutter, everyone sharp as tacks. B+(*)

Fieldwork: Door (2007 [2008], Pi): Easy last time to treat this as Vijay Iyer's group, but alto saxophonist Steve Lehman has moved even more front and center, and drummer Tyshawn Sorey wound up writing the majority of the pieces. In many respects, Iyer functions more like a bassist, steadying the rhythm and filling out the sound, taking few solos. The last cut, Lehman's "Rai," remains the prize for its dynamism, but other tracks are nearly as exciting, and the slow stuff doesn't lose interest or its sense of danger. I held Iyer's excellent Tragicomic back from JCG(17), so (18) looks like his day. A-

Sal Mosca Quartet: You Go to My Head (2001-06 [2008], Blue Jack Jazz): Private recording sessions from the late pianist's studio, the sort of thing that becomes precious only after we know the supply is limited. Mosca was a Lennie Tristano disciple, and tenor saxophonist Jimmy Halperin is an adroit stand-in for Warne Marsh or Lee Konitz (each author of a song here). But the Gershwin pieces and "How High the Moon" are standard fare for any jazzman with a little stride in his swing, and the Parker and Gillespie pieces are almost as time worn. Still, a lovely piece of work. B+(***)

Nicholas Payton: Into the Blue (2007 [2008], Nonesuch): Choice cut: "The Charleston Hop (The Blue Steps)" -- short, funky trumpet jabs over a fractured hand drum beat, with nothing else to muck things up. Rest of the album has plenty of muck, mostly in Kevin Hays' keyb and the synths Payton has been dabbling with. He plays languidly for much of the album. Also tries singing one song, in a voice that I can only describe as a Chet Baker parody. B

Christian Scott: Anthem (2007, Concord): This does lighten up a bit in an agreeable piece called "Like That," but the first half-plus is buried in heavy sludge -- an obvious metaphor for flooded New Orleans, the young trumpeter's home town. B-

Roswell Rudd Quartet: Keep Your Heart Right (2007 [2008], Sunnyside): New album of (mostly) old songs, the few the great trombonist managed to write lyrics for. They're set up for Sunny Kim, the first singer he's used since he rediscovered Sheila Jordan for two 1973-74 albums, Numatik Swing Band (shamefully out of print, as is the rest of the JCOA catalog), and Flexible Flyer (also out of print, as is most of the rest of the Freedom catalog; all the more shameful given that it is one of my all-time favorite albums). Unfair for anyone to have to walk in Jordan's shoes, but I'm not sure I'd think much of Kim in any case. To her credit, she fares best on two songs Jordan sung on Flexible Flyer, ably negotiating the same tricky phrasing; elsewhere she ranges from competent to not. Piano and bass do little, and I still wonder what Rudd has against drums (or drummers). The trombone is glorious. B+(*)

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