(Contemporary Jazz, Fusion) [CD] Nate Radley - The Big Eyes - 2011, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 26. January 2017, 20:58
Nate Radley / The Big Eyes
Used drive  : hp      DVD-RAM GHB0N   Adapter: 1  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
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        9  | 55:59.46 |  6:03.16 |    251971    |   279211
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Track  6
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Track  9
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All tracks accurately ripped
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[CTDB TOCID: SlfjVzHtrgk030HoOEusIqIM3Is-] disk not present in database
Submit result: SlfjVzHtrgk030HoOEusIqIM3Is- has been uploaded
==== Log checksum 334ED5672C4E49365E43B1496A817475BF1BBD706A8F4A902665EDEAF312B8C5 ====

REM GENRE Jazz
REM DATE 2011
REM DISCID 920E8A09
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Nate Radley"
TITLE "The Big Eyes"
FILE "01 - Boo.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Boo"
    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "02 - January.wav" WAVE
  TRACK 02 AUDIO
    TITLE "January"
    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "03 - Ascent.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Ascent"
    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "04 - Silver Lining.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Silver Lining"
    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "05 - Archipelago.wav" WAVE
  TRACK 05 AUDIO
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    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "06 - The Big Eyes.wav" WAVE
  TRACK 06 AUDIO
    TITLE "The Big Eyes"
    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "07 - Wise River.wav" WAVE
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    INDEX 01 00:00:00
FILE "08 - Blue Square.wav" WAVE
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    PERFORMER "Nate Radley"
    INDEX 01 00:00:00
FILE "09 - All That's Solid.wav" WAVE
  TRACK 09 AUDIO
    TITLE "All That's Solid"
    PERFORMER "Nate Radley"
    INDEX 01 00:00:00

Jazz musicians often emphasize the importance of having big ears when finding a place in the music, but big eyes are equally important. Tunnel vision and a general lack of ability to see the big picture have plagued many a musician, but guitarist Nate Radley needs no corrective musical lenses. Radley's panoramic outlook and long range sight give him a unique perspective that's on display for all to hear on his debut recording.
Radley has been building his sideman portfolio over the past few years, appearing on impressive dates with the likes of trombonist Alan Ferber, vibraphonist Matthias Lupri and saxophonist Loren Stillman, but he's finally putting his own music first. The guitarist penned all nine compositions that appear on the album and the majority of the music speaks to his fondness for long lines, dynamic development and gray-streaked atmospheres. Traces of Mike Moreno, Radiohead, Bill Frisell and Adam Rogers are noticeable at various times and in various ways, but Radley's in no danger of being dubbed a clone of anyone on this list.
His music moves from quirky and energetically off-centered ("Boo") to curious and contented ("The Big Eyes"), but a common thread can be found in most of this work. These songs tend to take form around shifting tides of energy, with Radley and drummer Ted Poor controlling the power output for the entire working unit. Radley is a mood architect who's able to move from states of desolation to anger to repose with relative ease and Poor is his perfect drumming mate. He has an effortless sense of groove, but he's one of the least pattern-driven players on the scene. Poor puts a steady, never-moving backbeat into play when needed, but he sounds best when he adjusts to the ever-changing topographical needs of the music.
While the rest of the band isn't as instrumental in directing the flow of the music, they're indispensable ingredients in Radley's recipes. Stillman proves to be a simpatico frontline mate for the guitarist, since both men prefer overcast skies to blue horizons, and bassist Matt Pavolka provides a sense of stability at every turn. Pete Rende's Fender Rhodes is often unobtrusive, but he makes his mark on the bristling "Ascent" and the slow roaming "All That's Solid."
Radley's music, by and large, is driven by personalities rather than theories or concepts and that seems to work just fine. The Big Eyes isn't melodic ear candy or chops galore, but it's thoroughly engrossing and wholly unique in its design. This may be a first effort, but it certainly doesn't sound like one.