The inviting sensitivity of singer Eden Atwood and the sensuous rhythms of Brazil make for a stirring musical marriage on Atwood’s first Groove Note release Waves: The Bossa Nova Sessions. Atwood, who’s thrilled audiences from Chicago to Shanghai with her superb vocal instrument and unbridled sense of expression, gives the music of Jobim, Ellington, Lennon-McCartney and others fresh meaning with unmatched warmth, conviction and a flirtatious touch of playfulness.
On Waves, Atwood is accompanied by a group of like-minded musicians including pianist, arranger and Thelonious Monk International Piano Competition winner Bill Cunliffe (whose 2001 Groove Note recording Live At Bernie’s received unanimous praise), guitarist, bandleader and award-winning arranger Anthony Wilson, first-call bassist Darek Oles and drummer Joe LaBarbara, whose touch and superb rhythmic facility graced the trio of the late Bill Evans among many others. Saxophonist-flutist Pete Christlieb, for years the leading reed player in Los Angeles’ highly competitive studio scene, rounds out the gifted combo.
Atwood came to international attention with a string of acclaimed recordings for the Concord Jazz label and live performances across America and Asia. Daughter of noted composer-arranger Hub Atwood, whose works were performed by Frank Sinatra, Nat Cole, Stan Kenton and others, she began singing at the age of three. Her varied career includes modeling in Paris and television acting in New York but her first love, jazz singing, is what has taken her across the globe.
Waves finds Atwood exploring bossa nova standards including “Girl From Ipanema,” “Brazil” and “Meditation” with unmistakable passion and verve. Thanks to Cunliffe’s attractive arrangements, she puts Brazilian touches to such favorites as “Fool On the Hill” and “How Deep Is the Ocean.” The purity and unique quality of her voice is complimented by the natural, audiophile-quality sound that Groove Note brings to all its recordings. In a world filled with come-lately singers of questionable quality, Eden Atwood stands apart with craft, confidence and conviction. Proof of her talent is abundant throughout Waves. Listen.
* NativeDSD makes this recording available for the first time as a DSD Download to a wider audience, outside the US and Canada.
* NativeDSD exclusively offers this recording as DSD 128 and DSD 256 Downloads (see Tech Specs for more info).
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:01:01
Additional information
| Label | |
|---|---|
| SKU | GRV1012 |
| Qualities | |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | |
| Composers | Bacri, Barroso, Berlin, Ebb, Ellington, Hendricks, Jobim, Lennon-McCartney |
| Genres | |
| Cables | AudioQuest |
| Executive Producers | Ying Tan and Sebastian Koh |
| Mastering Engineer | David Glasser, Airshow Mastering using the Sony Direct Stream Digital™ System (DSD 64), Tom Caulfield at Native DSD Mastering Lab (DSD 128 and DSD 256) |
| Microphones | Neumann M-249, M-50, U-47FET, U-67, AKG C-12, C-12A, Sony C55p, Sennheiser 441, 421, Shure SM 7. |
| Notes | We are pleased to announce the availability of Groove Note releases in DSD 128 and DSD 256, in addition to the original DSD 64 releases. These higher bit rate DSD 128 and DSD 256 releases are all pure DSD created. They are not up samplings, for there are no PCM or DXD conversions involved in their production. They are re-modulations of the original DSD 64 encoding modulation that produced the DSD 64 releases. The sonic advantage to these new Stereo and Multichannel DSD 128 and DSD 256 releases, as with all higher DSD bit rate releases, is the wider frequency passband prior to the onset of modulation noise.This results in the listener’s DAC using gentler and more phase linear filters for playback of the music. |
| Instruments | |
| Original Recording Format | |
| Producer | Joe Harley |
| Recording Engineer | Michael C. Ross |
| Recording Location | Record One, Sherman Oaks, CA, May 25-29, 2002 |
| Recording Type & Bit Rate | Analog |
| Special Thanks | David Kawakami, Gus Skinas and Lon Neumann of the Sony Super Audio CD Project |
| Release Date | May 4, 2018 |
Press reviews
Sensible Sound
Best sounding new release of 2002!
All About Jazz
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 album booklet. If you’re of a cynical frame of mind that old “style-over-substance” debate might come to mind when you pick up her album, Waves: The Bossa Nova 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 here—three Jobim tunes, including the classic “Girl From Ipanema”; a lovely, 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 genius 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) electronic walls of noise. Cunliffe goes mostly with the spare approach that showcases Atwood’s talents perfectly.
Prairie Audio Man Cave
Eden Atwood. “He’s a Carioca.” Waves: The Bossa Nova Sessions. DSD128 Native DSD download. Groove Note Records. 2002.
?Atwood’s silky sultry jazz vocals shine and shimmer in this glowing rendition of Antonio Carlos Jobim’s classic. Accompanied alternatively by Scott Breadman’s congas, Bill Cunliffe’s acoustic piano, Derek Oles’ bass, Joe LaBarbera’s lilting ride cymbal and Antony Wilson’s acoustic guitar, her vocals and accompaniment fill the room with wet, glistening notes floating through the air and a musical presentation that makes me want to set my MacBook Air aside and simply listen. It’s evocative and conjures memories of savoring a midnight summer’s cigar and glass of cabernet at my in-laws’ lanai in Tampa, Florida. With a pond yards away, I am overcome and enveloped with the tropical sounds of crickets, bullfrogs, birds and their resident alligator. It’s glowing, transcendent and a bit intoxicating.
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