Customer Reviews

Waves: The Bossa Nova Session

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

 

 

This disc represents Eden's best work to date - she's freer and definitely more creative. Maybe it's because of the switch in labels, I don't know, but this is a [hip], groovy album. I hope Jon Hendricks gets to hear Eden's version of "O Pato", because it really cooks mightily & she handles his machine-gun lyrics like a pro! She taps into a Julie London- style intimacy on a seductive "Ela a Carioca" that starts off the disc, and never lets you down throughout. Great vocals, great band, great debut on Groove Note - get it!!

Eden Atwood has my vote for the best jazz vocalist today, and that doesn't need qualifying as best female, best young, best whatever ethnic or regional background, what I'm saying is I think she is the best jazz singer today period. I had the pleasure of hearing her live, doing many of these tunes, and she is warm, wonderful, funny, but most of all totally musical and artistically compelling. This recording captures her in a well recorded set with some musicians who are obviously good listeners, and capable players. The sound on this CD is exceptional. Put it all together, and you have a record here that will be on top of the stack at your house too.
PS....Don't forget to read the liner notes that come with this CD. There is some very interesting background on Eden, which gave me some clues how she has become such an amazing, engaging performer.

Eden has found her voice on this album--literally and metaphorically. There's no hint of a break in her melodic lines, no distinction between a "chest" and a "head" voice. Wisely, she's selected a program of bossa novas to "ease" herself back into the recording studio, but each of the selections has an emotional honesty, along with maturity and playfulness, characteristic of her musical mentors, Shirley Horn and Jimmy Scott. Only "Brazil" betrays a hint of strain (I would have opted for "Waters of March" or another Jobim tune). On the other hand, the fresh reading of a reharmonized "Girl from Ipanema" is a revelation.

On the basis of this album, I sense a program of definitive ballad readings from Eden in the near future.

Not only is Eden Atwood a great singer, songwriter, appreciator of fine music, and daughter of Hub Atwood, one of greatest composers and arrangers of all time, but she's beautiful AND sexy. If Jobim were alive today, he'd not only love her dreamy seductive voice, but he'd love it just for the pictures alone! Even if you don't have ears, just put on her CD, turn on the subwoofer, and let Eden's lilting vibrato lull you into a protective comfort you haven't felt since the womb. Eden has outdone herself this time!

20-something Eden Atwood does a very nice job with the standards. Her voice is smooth and her interpretations pretty good. Her musicians are excellent too. This isn't a knock-your-socks-off recording, but it's worth having. These bossa nova sessions feel like a flashback to the 1960s (or so), so I suppose it's successful. Although I didn't care for her version of "Brazil", I preferred this CD to another recording ("This is Always") I have of hers. But I'm being just a bit picky. You won't be dissatified with her recordings.

Ms. Atwood is a North American and she doesn't try to pretend otherwise. But with attention to detail and respect for the Brazilian material, she creates a beautiful Pan-American fusion. Like when the Brazilian masters take on the Great American Songbook, only in reverse. Last week I saw a performance by someone in Ms. Atwood's peer group (but with a higher industry profile) and the three Brazilian numbers she attempted made me wish it was Eden up on the stand.

Quite a band has been assembled to back Eden Atwood on this recording: Bill Cunliffe on piano, Derek Oles on bass, Joe LaBarbera on drums, Anthony Wilson on guitar, Scott Breadman on percussion, and--most exciting of all--Pete Christlieb on tenor sax and flute. Sadly enough, all is pretty well for naught, subverted by the singer. This kind of music should have subtlety, but Atwood takes everything over the top. What a shame, especially in light of the excellent sound quality.