Well, I screwed up. Never made the expected shift from prospecting the incoming queue to sorting out the further listening. What can I say? It's been a lousy week, so I managed to my hard deadlines and let non-deadline Jazz CG slip. Next week will be it: the incoming shelves are nearly bare, and the replay shelves are nearly full. Not that another bad week isn't a real possibility.

Fats Waller: If You Got to Ask, You Ain't Got It (1926-43 [2006], Bluebird/Legacy, 3CD): Thomas Waller was a dazzling stride pianist, an enduring songwriter, and one of the funniest singers and showmen ever. Anthologists have been tussling over these attributes ever since Fats, a round man with a narrow mustache and an irrepressibly sweeping grin, died, just short of his 40th birthday. With Solomonic wisdom, producer Orrin Keepnews has given us one disc of each. Of course, one can nitpick further -- no "Black and Blue," which might have spoiled the jovial mood, and the "Strictly Instrumental" disc moves too quickly into the band pieces, including a couple of emphatically vocal jive-alongs. But if God had meant you to choose, she would have restored the entire catalog, which since RCA deleted their six box, 15-CD almost complete works have been in embarrassing disarray -- not even the bottom-feeding reissue labels in Europe have been able to put him back together again. Meanwhile, this one's a good-enough chance to get acquainted, and entertained. A

Madeleine Peyroux: Half the Perfect World (2006, Rounder): As I recall, this debuted at #1 on the jazz charts, and no doubt broke onto the pop charts as well, where she's been before. This tones down the Billie Holiday vibe that I found distracting on her previous albums, but also because it moves away from the jazz tradition of Careless Love and into what's called chanson because it's mostly French, in spirit if not necessarily in tongue -- a Serge Gainsbourg song appears, but also two by Leonard Cohen, one each by Joni Mitchell and Tom Waits. She's a featherweight singer, and the arrangements are correspondingly light. This is marginal, but pleasantly appealing, ending with a winning "Smile." B+(*)

Meredith d'Ambrosio: Wishing on the Moon (2004 [2006], Sunnyside): Writing about Peyroux, I almost threw in some lines about the tattered state of vocal jazz -- aside from the narrow cabaret niche, it seems like an arbitrary decision who to throw at the jazz markets versus wherever else they may try to ply their wares. It's hard to know what to do with most of the so-called jazz singers that come my way -- makes me wonder if there is any such thing these days, but this one clears up all my doubts. Only a name to me until now, so I have no idea where this fits among the dozen-plus albums she's released. She writes her songs, has a voice with a lot of presence and nuance even though she keeps it toned down, has a small band that swings lightly -- the bass as audible as the piano, brushes on the drums, Don Sickler's muted trumpet and flugelhorn a comforting second voice. [B+(***)]

Marguerite Mariama: Wild Women Never Get the Blues . . . Well, Not Anymore! (2006, PowerLight Media): Don't have a recording date, but pianist Jimmy Sigler offers a dedication here dated 2004, then evidently died later that year. He plays on all but two cuts -- no piano on one, a different group on "Goin' to Chicago." Mariama signs her liner notes Ph.D. -- the hype sheet describes her as "a triple threat (music, dance, theatre)." She surveys Afro-American song expertly from Ida Cox to Stevie Wonder, has a voice that commands attention, and runs a tight band. Jury's still out on how wild she is, or whether that really shields her from the blues. B+(*)

Stephan Crump: Rosetta (2005 [2006], Papillon Sounds): Bassist, originally from Memphis, now in New York. Didn't recognize the name, but should have: credits include two previous albums, Vijay Iyer, Liberty Ellman, and a Memphis r&b band called Big Ass Truck. This one lines him up with two guitarists -- Ellman on acoustic, Jamie Fox on electric, both sticking tight to the game plan, producing an exceptionally intimate, quite charming little album. [B+(**)]

Al Di Meola: Consequences of Chaos (2006, Telarc): Starts off as a nice groove album, and stays there. Just dropped this in for a stretch when I was preoccupied so couldn't follow it closely. Don't know his work, didn't expect much, but enjoyed what I could follow. [B+(*)]

Rez Abbasi: Bazaar (2005 [2006], Zoho): Guitarist, born in Karachi, grew up in California, lives in New York, drawing on each, as well as more extensive Indian studies, for his work. I liked his earlier Snake Charmer quite a lot, but find this one hard to sort out. The core is an organ trio, with Gary Versace at the Hammond, but two songs add saxophones, Rudresh Mahanthappa and Marc Mommaas; three feature Kiran Ahluwalia's "Indian vocals"; extra Indian effects, hand drums, tabla, something he calls a sitar-guitar. The organ is grooveful. The horns amplify the groove rather than play against it. The vocals don't do much for me. And I wish the guitar was clearer. Seems like too many ideas, but at least that beats the opposite. B+(*)

Dave Liebman & Bobby Avey: Vienna Dialogues (2005 [2006], Zoho): On principle I hate this music, although this makes me wonder whether I'd be so militant had Mr. Pankratz -- my intermediate school music teacher, the only one I ever had -- presented 19th century art song with such simple and inoffensive instrumentation. Avey plays piano, Liebman soprano sax. Calm, stately, or as Liebman puts it, "like clockwork." B

Delfeayo Marsalis: Minions Dominion (2002 [2006], Troubadour Jass): A long time between records, and this one has been in the can for a while -- so long that drummer Elvin Jones passed away in the meantime. I guess the family's allotment of ego got sucked up by the older brothers. Meanwhile, this is as good natured a mainstream hard bop album as I've heard in a long time. Branford and Donald Harrison alternate on their respective saxes. Mulgrew Miller plays piano. Terrific drummer. And I always enjoy a lead trombone. B+(**)

Marcus Strickland Quartets: Twi-Life (2006, Strick Muzik, 2CD): Tenor saxophonist from Miami, plays a little soprano as well. Two previous albums in Fresh Sound's New Talent series, plus he's starting to get some prime sideman work -- Jeff Watts, Roy Haynes, Dave Douglas, Marsalis Music Honors Michael Carvin, another record I like by Metta Quintet. Each disc here is a quartet: the first a conventional sax-piano-bass-drums, the second with guitar and electric bass. I can't say as I noticed the much hyped Robert Glasper on the former, but Lage Lund makes a large contribution to the latter. On both, Strickland is both typical and exemplary of mainstream saxophonists: he can ace any dissertation, but I'm not sure how much of his own style he's developed. His twin brother E.J. plays drums in both groups, and he's definitely arrived. [B+(***)]

Michele Rosewoman & Quintessence: The In Side Out (2005 [2006], Advance Dance Disques): "Recorded September 26/27/28" -- but, like, what year? Can't be this year, since that would be today. Probably last year, but that guess will be harder to establish over time. The music is hard to pin down, ranging from slippery free bop to funk and Afro-Cuban grooves. The core group has two saxes: Mark Shim on tenor and Miguel Zenón on alto or soprano. Bassist Brad Jones plays electric as well as acoustic. For that matter, Rosewoman plays electric keyboards (mostly Fender Rhodes) more than acoustic. Guitarist Dave Fiuczynski joins on half of the cuts, occasionally out in front. Vocal on the last song, presumably by Rosewoman. Normally, I would say this is too much, too scattered, but she's been around long enough to have grown out of the kitchen sink syndrome. More likely it's coming from alternate universe I just have trouble grokking. B+(**)

Dave Stryker: Big City (2004 [2005], Mel Bay): Guitarist, active since the late-'80s; always sounds good, never quite convincing me that guitar is the future of postbop. This is a quartet with fleet-fingered Dave Kikoski on piano, Ed Howard on bass, and Victor Lewis on drums. Got it as background to the new one, up next. B+(*)

Dave Stryker: The Chaser (2005 [2006], Mel Bay): This one's an organ trio, with Jared Gold and Tony Reedus. Gold does a good job of keeping things pumped up, and Stryker slides right along. I thought I might have more to say about his guitar, but that's clearer on Big City, or his numerous albums with saxophonist Steve Slagle. But he spent much of his early career playing with organists, starting with Jack McDuff, so this is a return to form . . . or norm. B

Rob Mullins: Standards & More (2005 [2006], Planet Mullins): I reckon every jazz musician wants to take a swing at "Giant Steps." Put that together with "In a Sentimental Mood," "Moanin'," "When I Fall in Love," and something by a guy named Beethoven, and you get a standards album. Write yourself a samba, a blues, and something called "Bb Major Etude" and you got your more. Record it all in a club in Fullerton CA. Put it out on your own label -- it's got no commercial promise anyway, at least compared to your day job, hacking smooth jazz. I don't know much about that day job: I haven't heard any of his eleven other albums, but I don't recognize anyone on his credits list who doesn't walk on the pop side -- well, Spike Robinson, but their album together was called Odd Couple. Still, this is a fun album: Mullins impresses on piano, but the guy I like even better is his tenor sax man, Jimmy Roberts. As best I can figure out, he grew up in Virginia; cites Maceo Walker, Stanley Turrentine, Junior Walker, and Grover Washington Jr.; has worked with Etta James, Rod Stewart, various smooth jazzers; has an album called Bless My Soul that I'd like to hear someday -- most likely he'll turn out to be just a very good soul jazz man, which is an honorable trade in my book. B+(**)

Regina Carter: I'll Be Seeing You: A Sentimental Journey (2006, Verve): Cut after her mother's death, Carter describes this as "a life saver"; after her Paganini album, I'd say it's more like a career saver. Old songs, sentimental songs, ancient amusements, one original. The number of things that violin can do in jazz seems to be limited, but includes swing à Grappelli and the elegiac take on the title song. Guest vocalists appear: I'm not so sure about Carla Cook's three spots, but Dee Dee Bridgewater's two are choice cuts. [B+(***)]

Diana Krall: From This Moment On (2006, Verve): I going to have to do some comparison listening before I make this official, but my instant impression is that the sweepstakes is over: John Pizzarelli, Tony DeSare, not to mention Michael Bolton, can all pack it up and head home -- she's the new Sinatra. And I'm not talking about some distaff version or whatever. There's nothing markedly feminine either in her voice or demeanor. She's simply in total control, both of the Clayton-Hamilton Big Band and of the small subset that keeps the record from overheating. [A-]

Sathima Bea Benjamin: Song Spirit (1963-2002 [2006], Ekapa): A 70th birthday retrospective for a South African singer who got her first break in 1963 when Duke Ellington recorded her Morning in Paris. Her voice remained remarkably consistent over forty years, as did her ear and charm for pianists: she married Abdullah Ibrahim, but he only plays one track here -- the others include Ellington, Kenny Barron, Larry Willis, Onaje Alan Gumbs and Stephen Scott. Three cuts are Africa-themed originals, with "Children of Soweto" by far the happiest. But most of the songs are old standards. "Careless Love," with Barron, Buster Williams and Billy Higgins, is a highlight. [B+(***)]

Marcus Goldhaber: The Moment After (2006, Fallen Apple): In effect, a cabaret singer, although it's noteworthy that he learned as a child with his mother playing piano and pitching him songs. He has a light, thin voice that works best on equally light fare -- "Walking My Baby Back Home," "Old Cape Cod." Also helps that mom was a Fats Waller fan. B+(*)

The Matt Savage Trio: Quantum Leap (2006, Savage): The leader is a 14-year-old pianist and this is his seventh album, mostly trios with John Funkhouser on bass and Steve Silverstein on drums -- the latter two reportedly "adults." He's got fans and hyperbole -- Dave Brubeck called him "another Mozart" -- and has a deal with Palmetto to distribute this self-released album. He's credited with writing 11 of 15 songs. I sort of like one called "Curacao," and don't mind the rest -- but he doesn't have much of a sound, and the pieces mostly feel like exercises. The covers, on the other hand, are real songs. His "All the Things You Are" is quite nice, but he has trouble with "Monk's Dream," then tries to force his way out and leaves it rather bruised. He's competent enough you can see why people are impressed, but it's impossible to extrapolate what he does at 14 into a career, and even if it was possible you'd still have to compare what he's doing now vs. what everyone else is doing now. C+

The John Popper Project Featuring DJ Logic (2006, Relix): I've gone back and forth on how to file this, finally opting for the literal, although the grammar would make more sense if Popper were the object of DJ Logic's project. Doesn't really belong under jazz, but sometimes I have trouble telling until I listen -- Logic does hang out in our neighborhood quite often. Popper is a blues-rock guy -- sings, plays harmonica in a band called Blues Traveler. He's out front here, and OK until Logic gooses him, at which point this this starts to get interesting and turn into fun. Choice cut: NOLA tribute "Louisiana Sky," which has someone named Greenweedz as a guest vocalist. B+(*)

The Taylor/Fidyk Big Band: Live at Blues Alley (2005 [2006], OA2): Taylor is Mark, who composed some of this, and arranged all but one song of the rest. Fidyk is Steve, the drummer and bandleader. Taylor learned his craft from Stan Kenton, and there's some of that here. The band is big and dramatic, but can manage a light touch when called for. B+(*)

Jay Lawrence Trio: Thermal Strut (2006, OA2): Drummer-led piano trio. Don't know why Lawrence gets top billing. Pianist Tamir Hendelman co-produces, writes one of three originals, and arranges most of the covers. Actually, the name I'm familiar with is bassist Lynn Seaton, though I'd have to look him up to tell you why. Nothing much wrong with this, but it's hard to see much reason why we should care about what's merely one more good mainstream piano trio. B

Trio East: Best Bets (2005 [2006], Origin): Clay Jenkins on trumpet, Jeff Campbell on bass, Rich Thompson on drums. Trumpet trios are rare, mostly found on the avant side. Jenkins isn't all that far out, but the horn's necessary sparseness leans that way. Good group, well balanced, interesting approach. Liked their previous album, and this one is more of the same. [B+(**)]

The Vandermark 5: A Discontinuous Line (2005 [2006], Atavistic): Two changes. The first is replacing trombonist Jeb Bishop with cellist Fred Lonberg-Holm. This reduces the options for the spin-on-a-dime horn arrangements that dominated recent albums like Elements of Style. I don't have a good fix on what the cello does instead, other than that it provides a lower volume contrast to the horn leads. The second change is that Vandermark has ceded the tenor sax ground to Dave Rempis -- Vandermark plays baritone sax and clarinets. The effect there is to lower the sax range, to go deeper and dirtier -- the emphasis more on rough improv than on fancy arrangement. Remarkable on any account. [A-]

Bridge 61: Journal (2005 [2006], Atavistic): Another Ken Vandermark joint, with Jason Stein on bass clarinet, Nate McBride on bass, and Tim Daisy on drums. Vandermark plays tenor and baritone sax as well as a little clarinet. Nice artwork but no info in the booklet. Don't know anything about Stein, and I'm having some trouble figuring out what he's doing here. The Boston bassist and Chicago drummer fit well, and Vandermark gets to flex some muscle on tenor sax. [B+(***)]

Sound in Action Trio: Gate (2003 [2006], Atavistic): Ken Vandermark, just credited with reeds, squares off against two drummers: Robert Barry, from Sun Ra Arkestra, and Tim Daisy, from Triage and numerous Vandermark projects, including the flagship 5. The trio had a previous album on Delmark, Design in Time -- Daisy replaces Tim Mulvenna from then, as he replaced Mulvenna in the Vandermark 5. Doubling the drums doesn't have a real pronounced effect, although there is often something interesting going on back there. But it puts Vandermark on the spot constantly, Vandermark wrote about half of the pieces; the others are mostly avant-jazz classics, including a Dolphy piece for Clarinet, and a Coltrane that shows off his tenor sax. [B+(***)]

Scott Burns: Passages (2005 [2006], Origin): Young tenor saxophonist, originally from Ohio, now in Chicago. Mainstream, but he can pull some emotion under pressure, and I like his sound. Quartet, with Ron Perrillo helping out on piano. Was tempted to blow this off, but "Eddies in the Stream" made that hard to do. B+(*)

François Carrier/Dewey Redman/Michel Donato/Ron Séguin/Michel Lambert: Open Spaces (1999 [2006], Spool/Line): Several years old, presumably pulled off the shelf as a memorial on Redman's death. Otherwise, this is Carrier's trio, working out free improvs on two nights with different bassists -- Donato on the first 20:57 cut, Séguin on the other two (12:54 and 19:27). I don't have the ears to sort out the two saxes, but I like how they pull together, and the overall energy level. Good date for the drummer, too.. B+(***)

Billy Martin: Starlings (2006, Tzadik): He's the Medeski-Wood drummer, but this is something else -- not even as close as the many percussion-centric albums he's released on his Amulet label. "Starlings" and "Metamorphosis" began life as mbira pieces in 1991, but are resurrected here in Anthony Coleman's orchestral arrangements. They've assumed a euroclassical shape, especially in the horns, and I find them rather annoying. Two more pieces are played by Sirius String Quartet -- the second one, a somber piece called "Strangulation," is more interesting. Two pieces with a group called Whirligig Percussionists are more like what I'd expect, drawing on Martin's strengths rather than his ambitions. Some of the sounds remind me of Harry Partch. The final piece is a short solo of Martin on mbira, the primitive core of the album. That adds up to a score by conductor of 4-0 for Martin, 0-3 for Coleman. B

Roger Powell: Fossil Poets (2006, Inner Knot): His main claim to fame was playing synths in Todd Rundgren's space group Utopia, adding resonances to the etymology of the word. Other credits include Meatloaf's Bat Out of Hell and David Bowie's dreadful Stage album. He's older now, evidently wiser as well. He styles this as "retro-future" music, meaning electronic, but toned down and dialed back for oldsters. His beats are dependable: they hold the music together without crossing either into dance or ambient -- chill might be the right word, but not too cold. Simple enough I'm not sure it'll sustain interest. I'd be tempted to classify it as New Age, but it's much better than that neighborhood. [B+(**)]

Lynne Arriale Trio: Live (2005 [2006], B'Jazz): Piano trio with Jay Anderson on bass and Steve Davis on drums. They've been together since 1993 (the booklet says) or 1997 (as the discographies of six albums confirm), in either case an exceptionally long time. I don't know her work, so I'm inclined to be cautious, but she has a stellar reputation, and nothing here argues otherwise. Comes with a DVD, which I haven't gotten to, and may never. [B+(***)]

Jim Brickman: Escape (2006, SLG): Pianist, usually filed under New Age for the usual reasons: no swing, no stride, no rock chords, no atonality, no smoke stains or dirt under the fingernails, yet for such static music no intimations of classicism either. Still, I find it hard to fault his piano. He describes his music as "about relaxation, reflection and tranquility," and the tonic is functional, even when he dabs on the string synths. On the other hand, the featured vocals veer into Barry Manilow territory, reminding me that he has no kitsch either. B-

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

The Source (2005 [2006], ECM): Norwegian quartet, led by saxophonist Trygve Seim, with Øyvind Braekke's trombone as the second horn. I'm reminded of an argument that Ken Vandermark made in introducing Mats Gustafsson's Blues record: that American and European players have a fundamental disconnect in their sense of what blues is, the Americans tuned to the sonic signatures, the Europeans more formal, more abstract. Same sort of thing happens here, only viz. swing. This doesn't swing, but it does everything else you expect of a swing record -- while staying what seems to me at least unnaturally upright. Francis Davis wrote about this in the Voice already, which sort of gets me off the hook. A fascinating record I haven't managed to figure out. I do think that Seim will wind up regarded as important, and this won't be the last time I revisit this. B+(***)