Eden Atwood is a stylish young woman, an erstwhile model and television actress, a dark-haired, light-eyed beauty blessed with sultry good looks that are displayed in an array of professional model poses on the CD booklet; and if you're of a cynical frame of mind that old "style-over-substance" debate might come to mind when you pick up her new CD, Waves: The Bossa Novs Session" on Groove Note. Put the pictures down and listen, though, and substance wins out, big time.
Atwood is a gifted singer with a sublime, delicate delivery, that is sometimes breathy, always nicely nuanced, always under complete control; a singer with an obvious passion for her craft. As the disc's title suggests, Bossa Nova is in the forefront herethree Jobim tunes, including the classic "Girl From Ipanema"; a lovley,lilting version of the McCartney/Lennon tune, "Fool on the Hill," and a sad and sultry take Berlin's "How Deep is the Ocean" that will make you cry or fall in love with Atwood, maybe both.
And it was a small stroke of genious to pair Eden with pianist/arranger Bill Cunliffe. Atwood's is a sweet, sometimes coy-sounding voice that some producers feel compelled to surround with washes of strings or (more's the horror) electronical walls of noise. Cunliffe goes mostly with the spare approach that showcases Atwood's talents perfectly.
Track Listing: He's a Carioca, O Pato, Meditation, Girl From Ipanema, Once Upon a Summer-time, Don't You Know I Care, Waves (Caminos Cruzados), Fool on the Hill, How Deep is the Ocean, Brazil, It's a Quiet Thing
Personnel: Eden Atwood, vocals; Bill Cunliffe, piano and arrangements; Darek Oles, bass; Joe LaBarbera, drums; Anthony Wilson, guitar; Pete Christlieb, tenor sax and flute; Scott Breadman, percussion
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.