Nat Adderley - Introducing Nat Adderley

Styles: Cornet Jazz
Year: 1955
File: MP3@320K/s
Time: 43:40
Size: 101,4 MB
Art: Front

(2:47)  1. Watermelon
(4:06)  2. Little Joanie Walks
(3:32)  3. Two Brothers
(4:29)  4. I Should Care
(6:03)  5. Crazy Baby
(6:43)  6. New Arrivals
(3:53)  7. Sun Dance
(3:22)  8. Fort Lauderdale
(3:16)  9. Friday Nite
(5:25) 10. Blues For Bohemia

The Adderley brothers were key players in the birth of hard bop, a style which grew out of the advancements of Bud Powell and other pioneers who formed a sound that many artists took to the bank for years. At this point in time Cannonball had formed his first quintet with Nat as a sideman; facing indifferent recognition, Cannonball went on to join Miles Davis and met with far greater acclaim. The two would later reunite in the second Cannonball Adderley quintet with much greater success; after his stint with Davis, the public was much more receptive to what Cannonball had to say. This album is a bit unusual in that Nat is the leader and Cannonball is the sideman, although since the altoist is such a pervasive influence and all the tunes we co-written by the two, the distinction of who is in charge makes little difference. The Adderley brothers were always at their best working in the hard bop vein. Although they specialized in different instruments, their styles were remarkably similar; playful and lively, with a generous helping of the blues. 

They wear their Parker-Gillespie influences on their sleeves, trading off fluttering arpeggios and staccato runs at a rapid fire pace, and obviously prefer sticking to the higher register given their choice of instruments (Nat is one of the few jazz players to specialize in the cornet). Most of the songs here are skillfully designed to exploit the talents of both, although they are interchangeable with hundreds of other hard bop themes from the era. However, they truly seem to be enjoying themselves here, indulging their love of playing jazz. You would also be hard pressed to find a rhythm section better than the one assembled here; all three were highly regarded sidemen who amongst them have probably appeared on over a third of all sessions recorded during this period. Horace Silver would go on to record greasy soul anthems for the hard bop generation like "Song For My Father"; his sharp attack provides a bed of nails for the horns to blow over. ~ David Rickert https://www.allaboutjazz.com/introducing-nat-adderley-nat-adderley-verve-music-group-review-by-david-rickert__27073.php

Personnel: Nat Adderley, cornet; Cannonball Adderley, alto sax; Horace Silver, piano; Paul Chambers, bass; Roy Haynes, drums.

Introducing Nat Adderley

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Agnetha Fältskog - Eyes Of A Woman

Styles: Vocal
Year: 1985
File: MP3@320K/s
Time: 44:19
Size: 102,6 MB
Art: Front

(3:39)  1. One Way Love
(3:57)  2. Eyes Of A Woman
(3:44)  3. Just One Heart
(3:43)  4. I Won't Let You Go
(4:23)  5. The Angels Cry
(2:52)  6. Click Track
(4:00)  7. We Should Be Together
(5:33)  8. I Won't Be Leaving You
(4:38)  9. Save Me (Why Don't Ya)
(3:39) 10. I Keep Turning Off Lights
(4:07) 11. We Move As One

Lushly produced by 10cc's Eric Stewart, with all the lavish attention to detail that one would expect, Agnetha Faltskog's second English-language solo album is a lean and occasionally brooding hybrid of overstated '80s adult rock and boisterous Euro-pop, a blend that is epitomized by the opening cut, Jeff Lynne's "One Way Love," and never goes away thereafter. It makes for discomforting listening. Her final recordings with ABBA, after all, placed Faltskog in a fascinating position, a dark, doomed chanteuse capable of wringing crippling emotion from the most innocuous lyric. Only occasionally, however, does Eyes of a Woman even glance back in that direction (most notably on the title track), with Faltskog preferring elsewhere to disguise even the most distinctive elements of her voice beneath the overwhelming power balladry that was so characteristic of the age. Producer Stewart's own "I Won't Be Leaving You" emerges a lovely, sad song, comparable to any of the ballads he contributed to latter-day 10cc albums, while "I Won't Let You Go" (a Stewart/Faltskog collaboration) and Justin Hayward's "The Angels Cry" are both powerful enough to break through the album's overall sheen. Unfortunately, they are the exceptions. Elsewhere, Faltskog seems content simply to voice the words laid before her, an apparent disinterest that was broadcast even further first by her refusal to promote the album, then by her almost total disappearance from the public gaze. The eyes of this woman had obviously seen too much. ~ Dave Thompson https://www.allmusic.com/album/eyes-of-a-woman-mw0000473291

Eyes Of A Woman

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David 'Fathead' Newman - Captain Buckles

Styles: Saxophone, Flute Jazz
Year: 2000
File: MP3@320K/s
Time: 33:51
Size: 78,1 MB
Art: Front

(4:38)  1. Captain Buckles
(4:19)  2. Joel's Domain
(3:43)  3. Something
(4:25)  4. Blue Caper
(6:20)  5. The Clincher
(5:07)  6. I Didn't Know What Time It Was
(5:16)  7. Negus

An improvement over David Newman's preceding projects, this soulful but relatively straight-ahead effort teams him with trumpeter Blue Mitchell, guitarist Eric Gale, bassist Steve Novosel and drummer Bernard Purdie in a pianoless quintet. 

Switching between tenor, alto and flute, Newman performs four originals, a song by Mitchell, George Harrison's "Something," and the standard "I Didn't Know What Time It Was." Captain Buckles was reissued on CD in 2000 on Label M. ~ Scott Yanow https://www.allmusic.com/album/captain-buckles-mw0000105503

Personnel:  David "Fathead" Newman - tenor saxophone, alto saxophone, flute; Blue Mitchell - trumpet; Eric Gale - electric guitar, acoustic guitar; Steve Novosel - bass; Bernard Purdie - drums

Captain Buckles

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Adam Shulman Sextet - Here/There

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 61:46
Size: 142,2 MB
Art: Front

( 6:19)  1. Grant and Green
( 8:53)  2. Shelby's Sojourn
(10:18)  3. For an Unknown Lady
( 7:39)  4. Katy
( 8:24)  5. Pearl and Bruno
( 7:42)  6. Dirty
( 6:02)  7. Apartment 6
( 6:26)  8. Easy Living

San Francisco pianist/composer Adam Shulman presents an album of post-bop-inspired original compositions performed by a sextet of some of the Bay Area's most prominent jazz musicians. With a hard swinging group aesthetic and close harmonic writing inspired by the classic groups of Horace Silver and Art Blakey, Here/There offers bright new vehicles that embrace history while adding to the legacy of one of America's great jazz communities. With Mike Olmos, Patrick Wolff, Rob Roth, Smith Dobson and John Wiitala.

Personnel:  Adam Shulman - piano; Mike Olmos - trumpet; Patrick Wolff - alto saxophone; Rob Roth tenor - saxophone; John Wiitala - bass; Smith Dobson - drums

Here/There

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