Not a lot here. Steered midweek toward oldies to shore up April's Recycled Goods post, but not a lot there either. Favorite record of the week was Lily Allen's It's Not Me, It's You, followed by K'naan's Troubadour and Amadou & Mariam's Welcome to Mali -- they now hold three of my top four year-in-progress slots, along with Brad Shepik's Human Activity Suite, and are actually the first non-jazz to crack my list.

Phil Woods: The Children's Suite (2007 [2009], Jazzed Media): "Inspired by the verses of A.A. Milne" -- some sung by Vicki Doney and/or Bob Dorough, some narrated by Peter Dennis. Woods composed and arranged the music, and plays alto sax in an orchestra he conducts: four reeds, three brass, piano, guitar, bass, drums, four strings. Milne, of course, is best known for Winnie-the-Pooh, which makes an appearance, but I assume woods jumps around, and some things like "Sneezles" even strike me as familiar. Not something likely to appeal to me on any level, with the vocals and the strings especially likely to rub me the wrong way, but much of it is well done -- the sax, naturally, but also the witty narration. B+(*)

Miguel Zenón: Awake (2007 [2008], Marsalis Music): Alto saxophonist, from Puerto Rico, b. 1976, one of the outstanding players of his generation, a view that was acknowledge when he won a MacArthur "genius grant" in 2008. Mostly a quartet here, with Luis Perdomo on piano, Hans Glawischnig on bass, and Henry Cole on drums. That part is hard to quarrel with, although the range and intensity are hard to grasp. More troublesome are two cuts with a string quartet, and one cut with three extra horns grinding into a noise fest. Need to come back to it later. [B+(**)]

Hank Jones & Frank Wess: Hank and Frank II (2009, Lineage): This is guitarist Ilya Lushtak's label, and his gig. He's a big fan of old jazz, and Jones and Wess are about as far back as anyone can reach today. They are delightful -- Jones especially. And Lushtak is a quite competent swing-styled guitarist -- sort of Howard Alden, minus the fancy stuff. More problematical is Marion Cowings, who sings most of the songs. Where Jones and Wess sound timeless, Cowings is perfectly dated as a 1950s crooner, even a bit old-fashioned in that context. I hated his sound at first, then it started growing a bit on me. B+(**)

Don Cherry/Nana Vasconcelos/Collin Walcott: The Codona Trilogy (1978-82 [2009], ECM, 3CD): Three albums in a nice little box, like ECM did for Keith Jarrett's Setting Standards. Cherry left Ornette Coleman's classic group to see the world, and he never encountered a rhythm or an instrument he didn't like. In Walcott, an American who specialized in Indian music, playing sitar and tabla, and Vasconcelos, a Brazilian percussionist, he collected a compact synopsis of world music. The name came from the players' first name first syllables, and the second and third albums were simply named Codona 2 and Codona 3. They played everything from melodica to doson n'goni to berimbau to timpani, but Cherry's pocket trumpet always stood out, even as it faded in the declining later albums. The groove-and-trumpet dominated first album reminds one of early '70s Miles Davis. The later albums are more eclectic and aimless. Walcott, best known for his work in Oregon, died in an auto accident in 1984, finishing off the group. B+(*)

Steve Kuhn: Life's Backward Glances: Solo and Quartet (1974-79 [2009], ECM, 3CD): One of those pianists who should be far better known but they're just too damn many of them. Started studying under Serge Chaloff's mother, later with George Russell; played with the likes of Coleman Hawkins as a teenager and Stan Getz a bit later; was the original pianist in John Coltrane's Quartet, until McCoy Tyner displaced him. He's recorded steadily since 1963, mostly piano trios. This packages three of the six albums he cut for ECM from 1974-81 -- for variety picking two quartets and one solo. The extra on the first quartet, 1977's Motility, was Steve Slagle, a clear-toned saxophonist who can bop and swing, although he mostly winds up dodging Kuhn's screwballs. Over the record he keeps moving up the register, from tenor to soprano, finishing with flute, a progression that improbably works. The second quartet, 1979's Playground, features vocalist Sheila Jordan. Kuhn's lyrics are as oblique as his music, and Jordan is mixed down, hard to hear, working in the band rather than in front of it. But her command is so complete she makes something of it anyway -- the depth in "Deep Tango" comes from her. The third disc was the first record, 1974's Ecstasy. Solo piano, not easy to get a handle on, no matter how clear and sharp it seems. B+(**)

Sex Mob Meets Medeski: Live in Willisau (2006 [2009], Thirsty Ear): Quartet -- Steven Bernstein on slide trumpet, Briggan Krauss on alto sax, Tony Scherr on bass, Kenny Wollesen on drums -- with John Medeski sitting in on organ. Usual mix of lowbrow pop raised to avant-kitsch, with covers from Prince and John Barry -- think James Bond themes -- prominent, along with bits from Ellington, Basie, and "Little Liza Jane." Originals include a series of "Mob Rule" connecting pieces and a tribute named "Artie Shaw." A lot of brains go into this, but the wit is swallowed up in sloppy noise. And while Medeski has fun, he doesn't add much. B+(*)

Gaucho: Deep Night (2008 [2009], Gaucho): San Francisco group, played every Wednesday night for five years at a "dive" called Amnesia. Plays gypsy jazz -- the name reportedly derived from the Spanish gadjo. Lineup: Bob Reich (accordion), David Ricketts (guitar), Michael Groh (guitar), Ralph Carney (horns), Art Munkers (bass), Pete Devine (drums), with guest Craig Ventresco for more guitar on 4 tracks. Carney, who started out with Tin Huey in Akron, travelled all around with Tom Waits, and seems to be everywhere in San Francisco these days, is the best known. Ricketts and Groh have worked in Hot Club of San Francisco, another Django-styled group. This group strikes me as qualitatively cooler than their model, which isn't such a bad thing. The opening "Tea for Two" is delightful, "The Sheik of Araby" has some spark, "Valse a Bambula" is sly and elegant, but "St. Louis Blues" is too crude for this crew. B+(**)

Roger Davidson & Raúl Jaurena: Pasión por la Vida (2008 [2009], Soundbrush): Davidson has a long history exploring Latin jazz, which has lately moved him toward Argentina's tango. He finally wrote a batch, which Jaurena's bandoneón makes sound warm, intimate, sometimes stately, more often classic. One cut triggered my Bach reflex, but I soon decided that wasn't such a bad thing. B+(***)

Milton Nascimento and Jobim Trio: Novas Bossas (2007 [2008], Blue Note): Guitarist son Paulo Jobim and pianist grandson Daniel Jobim of Antonio Carlos Jobim anchor the trio, with Paulo Braga on drums, and bassist Rodrigo Villa relegated to a "featuring" credit. A little stiff with the piano up front. Nascimento sings, his falsetto aiming for the heavens but often brought down by the dead weight -- especially when the others chime in. C+

Pedro Giraudo Jazz Orchestra: El Viaje (2008 [2009], PGM): Argentine bassist, from Cordoba, moved to New York in 1996, leads a big band, mostly people I don't recognize -- the exception is drummer Jeff Davis. Third album. Relationship to tango, to Latin jazz, or to big band swing, is unclear; this feels more like a sprawling symphony, minus the strings. Played it twice, turning it up part way through because I was having trouble hearing it. Ten minutes later I don't recall anything about it, other than that it wasn't unpleasant. B-

Paul Giallorenzo: Get In to Get Out (2005 [2009], 482 Music): Pianist, originally from New York, based in Chicago, has several groups/projects in the fire. This one is a quintet, with Josh Berman (cornet), Dave Rempis (alto/tenor/baritone sax), Anton Hatwich (bass), and Frank Rosaly (drums). First song out, "Vacillation," takes a neat little repetitive riff and breaks it wide open. Some good stuff later on where Rempis gets a beat and rips loose. Don't have a good sense of the piano yet. [B+(**)]

Alex Cline: Continuation (2008 [2009], Cryptogramophone): Drummer, leads a string-heavy quintet here with Jeff Gauthier on violin, Peggy Lee on cello, Scott Walton on bass, and Myra Melford on piano and harmonium. Don't think I would have connected with this if I hadn't taken time out to follow it closely. The string stuff is nice and elegant; the drummer works his way carefully around it. Melford's harmonium changes the game immensely -- wish there was more of it. B+(**)

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

Unpacking: Found in the mail this week:

• Atomic/School Days: Distil (Okka Disk, 2CD)
• Baker/Hunt/Sandstrom/Williams: Extraordinary Popular Delusions (Okka Disk)
• Jon Balke: Siwan (ECM): advance, June 30
• Peter Brötzmann/Fred Lonberg-Holm: The Brain of the Dog in Section (Atavistic)
• Brötzmann/Kondo/Pupillo/Nilssen-Love: Hairy Bones (Okka Disk)
• Brötzmann/Pliakas/Wertmueller: Full Blast: Black Hole (Atavistic)
• Crimson Jazz Trio: King Crimson Songbook, Volume 2 (Inner Knot)
• Cyminology: As Ney (ECM)
• Ambrose Field/John Potter: Being Dufay (ECM New Series)
• The Engines (Okka Disk)
• Fire Room: Broken Music (Atavistic)
• Mary Halvorson & Jessica Pavone: Thin Air (Thirsty Ear)
• Arve Henriksen: Cartography (ECM)
• Jennifer Lee: Quiet Joy (SBE)
• Joe Maneri/Peter Dolger: Peace Concert (1964, Atavistic)
• McPhee/Brötzmann/Kessler/Zerang: Guts (Okka Disk)
• My Cat Is an Alien & Enore Zaffiri: Through the Magnifying Glass of Tomorrow (Atavistic, CD+DVD)
• Sun Ra & His Solar Arkestra: Secrets of the Sun (1962, Atavistic)
• Sun Ra & His Astro-Infinity Arkestra: Strange Strings (1966, Atavistic)
• Sun Ra: Some Blues but Not the Kind Thats Blue (1973-77, Atavistic)
• The Matthew Shipp Trio: Harmonic Disorder (Thirsty Ear)
• Adam Shulman: Patterns of Change (Kabocha)
• Territory Band-6 with Fred Anderson: Collide (Okka Disk)
• Gian Tornatore: Fall (Sound Spiral)
• Gebhard Ullman: Don't Touch My Music I (Not Two)
• Gebhard Ullman: Don't Touch My Music II (Not Two)
• Nicholas Urie Large Ensemble: Excerpts From an Online Dating Service (Red Piano)
• Ken Vandermark/Pandelis Karayorgis: Foreground Music (Okka Disk)
• Ken Vandermark: Collected Fiction (Okka Disk)