Customer Reviews

This Is Always: The Ballad Session

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The only reason I can come up with for the omission of Eden Atwood in a recent "Downbeat Magazine" feature story on the new "divas" in jazz (Monheit, Calloway, etc.) is that she's already earned the title. One can only hope it's not because her repertory doesn't cross over into country and folk territory and doesn't feature any "original" material (aka self-indulgent ephemera and meandering recitative). Nor should it be held against her that this is one of the few recent vocal offerings not to include Kenny Barron and Wynton among the accompanists. Not when Bill Cunliffe and Tom Harrell are both on board. And finally, if it takes women-ingenues in silk, satin, and bedroom poses to seduce consumers (and some writers) into exploring the contents of a CD, Eden's "tell it like it is" pose on the front cover should be sufficient warning that this is not an album for the hard of hearing or aesthetically challenged.

Suffice it to say, this is the strongest she's sounded in her 12 or more years of recording. There's not a forced or "covered" note on any of of the performances, and as always her tones communicate with a "double-voiced," sub-toned breathiness that's hers alone, even if Harrell practically matches her with a sound less suggestive of a trumpet than a conversational whisper (I don't believe I've heard even Miles or Chet play more laconically and certainly more honestly).

Cunliffe goes beyond substitution chords to reharmonizations of "Serenata" and "Come Rain or Come Shine" that surprise without subverting the melody and lyric. "Deep Purple" is the metamorphosis of a chestnut into a landscape of passionate hues, and "You Leave Me Breathless" is one of the more exacting descriptions of any vocal performance to affect this listener in recent years.

One small gripe: Every performer, with the exception of Sinatra and Oscar Levant, is guilty of taking "Blame It On My Youth" too seriously at the expense of the song's self-deprecating humor. By slowing down the tempo (even more than Kurt Elling's recent, overly earnest interpretation) and treating the lyric with so much gravitas, the present company contribute to the moroseness that is beginning to weigh down on what was intended as an ironic ode to youthful awkwardness and sophomoric excess (perhaps it helped to know Oscar Levant).

I for one would have preferred to hear Eden breathe some new life into "Old Folks" or, for that matter, remind us that Mr. B's "I Want to Talk About You," despite Coltrane's consecration and later canonization of the melody, was written to be sung. In fact, it would have confirmed that loving satisfaction that distinguishes the other 9 ballads on this rich, stunning, and otherwise "blameless" collection.

to listen to eden atwood you begin to feel something in a grand way. she brings a sense of longing and passion to songs not really enjoyed by the younger set. however, as i myself am in "the younger set", i find ms. atwood to play to the sections of life not filled by today's convention. eden brings understated simplicity to her songs that make one feel as though they too could sing in the haunting way she does.

as a person, eden atwood is down to earth, sincere, generous, and kind. she is a person you want to know. she brings warmth and humor with her in a room and it lingers long after she has departed. she is gracious, yet over the top... beautiful, yet humble... the kind of person that lets herself be who she is without restraint. eden is a wonderful person. everyone should get to know ms. atwood... musically and, if you ever get the opportunity, in person.

With this release Eden Atwood stands up amongst the very best of todays younger jazz singers. A soft and subtle release that still manages to pack a punch just at the right time and exactly where needed, this is her most intimate release to date.

The backing musicians play with much sensitivity, not often the case with many of the latest jazz vocal releases....

Way to go Eden I hope that you continue to push forward with your singing and recording career.....

" I'm filled with melody but at a loss for words" kind of reflects what I am feeling as I write this review.Those of course are lyrics
from a gorgeous rendition of "You Leave Me Breathless", one of ten
beautiful tunes on this stunning recording.Right out of the gate as you listen to the first cut on this cd you'll hear the piano of Bill
Cunliffe & a few seconds later the trumpet of Tom Harrell; two reasons why this album is a thing of beauty. Theres really not much I can add to what's already been said by others who have reviewed this music.
Samuel Chell said that Harrell's trumpet was like a "conversational
whisper".He was right on target & we hear that throughout this recording.He sounds eerily like Chet Baker @ times. Ed Biren in describing Eden's singing said she has the "ability to plumb the emotional core of any song"; also an apt description.
This is my first experience listening to this marvelous singer.For those of you out there who love ballads do yourself a favor and pick this one up.Every tune is to be savored.When Eden sings "Your Nearer" it gives me goose bumps.Eden has an absolutely beautifal voice & her renditions of these tunes are flawless."Blame It On My Youth" is done with just the bass of Derek Oleszkiewicz & the understated trumpet of Harrell."For All We Know" can rip your heart out.
A word to Eden.You need to go into the studio & record Ballad Session
#2. If I could give this one 7 stars I would.It's a gem.

All of you who believe that "Montana" and "jazz" can't be in the same sentence are in for a nice surprise. Eden Atwood may live in the country (Missoula) but her singing on the ballad album, This Is Always, is distinctly "downtown." Hitting highs and lows, she demonstrates her ability to plumb the emotional core of any song. This stellar collection of songs is performed in a fashion guaranteed to make you stop and take notice.

Backed by a superb quartet, Atwood mesmerizes us for the entire album but allows room for the musicians to display their talents as well. Tom Harrell leads the way on the opening number, "Without A Song," but shines with his soft horn playing throughout the set. Bill Cunliffe, who did the arrangements, caught my ear with his piano work on "Day By Day" but is solid on all the numbers. Derek Oleszkiewicz plays bass and is simply fantastic on "Blame It On My Youth" while drummer Lance Marable delivers a solid beat without needing to dominate the action.

The arrangement of "Deep Purple" is particularly noteworthy. I admit I don't remember Helen Forrest's interpretation of this song but I was around in 1963 when Nino Tempo and April Stevens won a Grammy Award for rock 'n roll record of the year with their "cute" version. Well, Eden gives us the grownup rendition--relaxed, sophisticated, magnetic.

Eden Atwood's singing isn't just a passing glow or a moment's gladness. She always leaves me breathless.

Really like some of the selections but not all. Not the first CD I grab. Her voice is super, though.

Eden is one terrific singer. I love all the songs on this album and what great renditions.

This is very nice, sitting in front of the fireplace, brandy sipping music. I look forward to more recordings. Too bad her earlier work isn't available at reasonable prices.