If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Ever since the 1950's when Brazilian composer Antonio Carlos Jobim, helped along by the seminal Stan Getz, Joao and Astrud Gilberto 1963 recording, Bossa Nova has been woven into the warp and woof of Latin Jazz. After making three albums with Concord Jazz, vocalist Eden Atwood has switched her allegiance to the Groove Note label and has chosen to make the Bossa Nova the rhythmic foundation for this initial outing. Not all of these tunes rely on Bossa Nova. There are standards sung pretty much in a straightforward manner, such as "Don't You Know I Care", "How Deep Is The Ocean" and "Once upon a Summertime". The latter tune is done with a higher than usual feel of poignancy. Eden is never going to overwhelm the listener with the strength of her voice. She relies on the subtleties of the vocal art, the slightly off center phrasing, the curious timing, the occasional slur for emphasis and other vocal innovations that set her apart. You hear some of these special effects on such tunes as the slightly Latinized "He's a Carioca", which features the fine guitar of Anthony Wilson (whose contributions to this album should have gotten him equal billing). Wilson also provides the lead in "Brazil" while Atwood moves forward in her usual an almost girlish manner. Considerable the juice is provided by veteran Pete Christlieb's sax on this track.
There is plenty of good to be found on this CD, certainly more than enough to justify adding to one's vocal collection. But now and them one yearns for Atwood and crew to let their respective hair down and let loose with a blast or two. Learn more about Eden at http://www.edenatwood.com.
Personnel: Eden Atwood- vocals; Bill Cunliffe- piano; Darek Oles- bass; Joe La Barbera- drums; Anthony Wilson- acoustic guitar; Pete Christlieb- tenor saxophone, flute; Scott Breadman- congas, percussion.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!