This worldwide hit by Supertramp was a song Brad and Fleurine heard when they were on the brink of adolescence. They both liked it back then, "…but it
wasn't until fairly recently that I realized how beautiful and strong the lyric was," says Fleurine. She came up with the idea of playing it in a '5/4' meter. In
fact, when Mehldau sat down to work out the idea it turned out to be in 5 and 7 ! Their delivery it so casual, though, that one is barely aware of it. Fleurine
phrases freely, stretching the melody until it ends in a complete improvisation. Commenting on the violin, viola and cello on this track, Mehldau explained, "I
wasn't after the 'string pad' sound that's on many jazz vocal records. I had more of a chamber music texture in mind, with expressive, melodic parts for each instrument."
is an often-overlooked composition by Jobim with lyrics by Newton Mendonça. Two other songs by this
writer-team did receive worldwide fame Desafinado and Samba de Uma Nota Só (One Note Samba)
but Caminhos Cruzados is one of their secret pearls that one hardly ever finds on Jobim 'classic' albums. The Portuguese language suits Fleurine's rich, resonant alto.
Chanson de Delphine
might ring a bell if one thinks of the oft-performed English rendition of this Michel Legrand classic
, 'You Must Believe in Spring'. Fleurine chose to dig up the original French lyric stemming from an all-sung Jacques Demy movie from the sixties, Les Demoiselles de Rochefort.
'Delphine' is the name of one of the main characters in the movie, played by actress Catherine
Deneuve, and in this part of the movie she fantasizes about a man that she dreams of every night, but has never met in real life.
This tune showcases Fleurine's French as well as two flowing improvised choruses by Brad and Fleurine.
Up From the Skies
is a funky Jimi Hendrix composition from his famous Axis: Bold as Love album, treated to some
tasty reharmonizing by Mehldau. Both Fleurine and Brad indulge in some heavy swing on this one.
Resignacão não pra nós
is a Mehldau composition from his recently recorded 'Elegiac Cycle' with wild changes and an odd
meter. Fleurine wrote a dramatic Portuguese lyric to it, and impresses with her improvisation here, while Mehldau really gets inside the tune.
Made of Sand
is an original with lyric and music written by Fleurine. It's a wistful song, sung along a coastline
when writing the tune she envisioned hearing the waves washing on the shore, and the chosen time
signature fits the feeling perfectly. There's some unabashedly romantic string writing here by Mehldau. The song has a haunting quality; it keeps lingering on.
Better Days Ahead
is a composition by Pat Metheny from his album 'A Letter From Home', with a lyric by Fleurine. It
has an uplifting melody that's sung with deceptive ease. But just try singing along and you'll see
how tricky Metheny's line really is. Among the subtle rhythmic shifts of the tune, Fleurine gives us
an inspired, improvised out-chorus. She has given the song a much slower rendition then the original, with a coda-like, reflective ending.
is the literal translation of 'Unrequited '; one of Mehldau's beautiful compositions from his album,
'Songs.' Fleurine sings a melancholy, self-written Portuguese lyric. It displays Mehldau's great
virtuosity over another set of unusual changes that Fleurine has no trouble coping with either.
Close Enough for Love
is a superb composition of Johnny Mandel. The song was originally the theme of the movie Agatha (1978). Fleurine tells the story with heartfelt candor. Mehldau's accompaniment is
particularly understated here, yet he's attentive to her every word- it's as though you can hear them breathe together.
O Amor Chegou
is an apt closer to an album with a lot of emotional layers. It's one last co-written composition,
with music by Mehldau and Portuguese lyrics by Fleurine. This is the only song where Fleurine
refrains from an improvised chorus. A statement of the melody is enough here. Her emotive voice
tells the story of Falling in Love, and the string players really rise to the occasion, giving a broad, dynamic performance.
Liner notes by Michael Davenport- Los Angeles