Yes it is another recording by a female singer- songwriter but waitsomething a little different is going on here. Christine Capdeville, born in France but now a fifteen-year resident of New York City, skillfully blends usual elements and emerges with something more. She has a rich, distinctive voice and a quirky, original approach to lyrics that make her seem to suggest somehow that she is both naïve love-child and experienced adult woman.
Vision of Love is a romantic's journey and thus it both reflects imagined longings and very real responses to the world. Capdeville is a composer of some skill with ears and heart open to many textures. The title track, for example, is a hypnotic reflection on someone who was important to the artist and it's a kind of Brazilian-sounding dance of deep feeling. The tune pulses along thanks to the solid electric bass of Sergio Brandao and the sensitive drumming of Ernesto Simpson. Capdeville's voice sometimes feels part of the ensemble and, when necessary, sails above it.
The singer chooses one of the true gems of Jobim when she takes on "Chega de Saudade. It's a spirited performance, buoyed by the perky rhythm section and Capdeville's lovely reading of the Portuguese and wordless, scat-like solo.
Most of the tunes here were arranged by pianist Edsel Gomez and his work nicely balances the instrumental playing, the twists of the compositions and, of course, the timbre of the leader's voice. Brian Lynch's trumpet is smartly used herenotable is his muted work on "Change in Your Heart.
On the final tune, "These Foolish Things, each player's contribution is vital with a strong statement of the melody, a beautiful piano solo by Gomez and delicate rhythmic underpinning. It's a performance of conviction that perfectly sums up the album's spirit.
Track Listing: Vision of Love; You've Lost a Friend: Craving Your Love; Providencia; Reverie; So Close; Chega de Saudade; Change in Your Heart; These Foolish Things.
Personnel: Christine Capdeville: vocals; Edsel Gomez: piano; Sergio Brandao: electric bass (1, 4, 6, 7), electric stand-up bass (5, 8); Howard Britz: double-bass (2, 3, 8); Brian Lynch: trumpet, flugelhorn (2, 4, 7); Ernesto Simpson: drums and guiro; Mestro Carneiro: percussion (1, 4, 6-8); Aryam Vazquez: congas (2).
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.