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| 7752 | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | May 25, 2010 | |||
| Recorded | 2010 | |||
| Genre | Vocal jazz, pop | |||
| Length | 41:08 | |||
| Label | EmArcy | |||
| Producer | Sonia Martyres | |||
| Chiara Civello chronology | ||||
| ||||
7752 is the third album by Italian jazz vocalist Chiara Civello. The title gives the distance in kilometers from New York City to Rio de Janeiro, the two cities that inspired the album.
Background
[edit]While visiting her friend, Daniel Jobim, in Rio in February 2008, Civello was taken to a party where artists and musicians of all kinds get together. The guitar went around and everyone sang a song. As Civello shared, listened and learned, a new phase of her artistic path began. Ana Carolina, a Brazilian MPB star, is one of the main collaborators of 7752. Not only did she co-write five of the songs with Civello, but she also played acoustic guitar on most of them.
Written between Rio, New York, and Rome, 7752 includes ten musical moments of which eight were recorded in New York City (and produced by the eclectic producer Andres Levin), while four were recorded in Rio and produced by Civello.
Track listing
[edit]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "8 Storie" | Ana Carolina/Chiara Civello | 4:05 |
| 2. | "My Somewhere to Go" | Civello/Itaal Shur | 4:17 |
| 3. | "I Didn't Want" | Carolina/Civello | 4:03 |
| 4. | "Dimmi Perche" | Carolina/Civello | 3:55 |
| 5. | "Un Duomo Che Non Sa Dire Addio" | Civello/Stefano Scandaletti/Totonho Villeroy | 2:48 |
| 6. | "One More Thing" | Civello | 4:47 |
| 7. | "Sófa'" | Carolina/Civello/Diana Tejera | 3:02 |
| 8. | "Resta" | Carolina/Civell/Dulce Quental | 5:22 |
| 9. | "I'm Your Love" | Civello | 4:18 |
| 10. | "Non Avevo Capito Niente" | Civello | 4:18 |
Personnel
[edit]- Chiara Civello – vocals, guitar, keyboards, programming, arranger
- Ana Carolina – vocals, guitar, cajon, programming, arranger
- Andres Levin – guitar, keyboards, programming, arranger
- Raymond Angry – keyboards
- Anat Cohen – clarinet, bass clarinet, saxophone
- Michael Leonhart – trumpet, horn arrangements
- Marc Ribot – guitar
- Guilherme Monteiro – guitar
- Diana Tejera – guitar
- Alberto Continentino – bass
- Jonathan Maron – bass
- Gene Lake – drums
- Domenico Lancellotti – drums
- Mauro Refosco – percussion
- Yusuke Yamamoto – bongos
- Marcio Eymard Malard – cello
- Jacques Morelembaum – cello, string arrangements
- Paulo Santoro – cello
- Bernardo Bessler – violin
- José Alves Da Silva – violin
- Glauco Fernandes – violin
- Carlos Eduardo Hack – violin
- Carlos Mendes – violin
- Pedro Mibielli – violin
- Leo Fabricio Ortiz – violin
- Osvaldo Luís Teodoro – violin
- Jesuina Noronha Passaroto – viola
- Maria Christine Springuel – viola
Production
- Chiara Civello – producer
- Ana Carolina – producer
- Andres Levin – producer
- Bob Power – mixing
- Sonia Martyres – producer[1]
See also
[edit]References
[edit]- ^ "7752 - Chiara Civello | Credits | AllMusic". AllMusic. Retrieved 27 March 2017.
External links
[edit]
from Grokipedia
Concept and development
Inspiration from cities
The album title 7752 derives from the precise distance of 7,752 kilometers between New York City and Rio de Janeiro, symbolizing the geographical and cultural bridge that inspired its creation.[2] In February 2008, amid a personal crisis, Chiara Civello contacted her friend Daniel Jobim and flew from New York to Rio de Janeiro on February 14, marking a pivotal moment that reignited her artistic drive.[2] Five days later, on February 19, Jobim introduced her to a sarau—a collaborative musical gathering organized by Dudu Falcão—where musicians and artists shared songs around a passed guitar, fostering an environment of spontaneous creativity that sparked a transformative phase in Civello's work.[2] This encounter with Jobim, grandson of Antônio Carlos Jobim, served as a key catalyst, immersing her in Rio's vibrant musical scene and influencing the album's collaborative ethos.[2] Civello's experiences across New York—her long-time home and hub for jazz and R&B influences—Rio de Janeiro, with its bossa nova rhythms and communal songwriting traditions, and Rome—her birthplace contributing Italian melodic sensibilities—infused 7752 with a multicultural vibe, blending these cities into a "perfect triangle" of inspiration.[2] The Rio sarau, in particular, led to her partnership with Ana Carolina, who co-wrote several tracks.[2]Collaboration with Ana Carolina
The collaboration between Italian jazz singer Chiara Civello and Brazilian musician Ana Carolina on the album 7752 (2010) marked a pivotal artistic partnership, with Carolina serving as the primary collaborator.[3] This began during Civello's visit to Rio de Janeiro in February 2008, where Jobim took her to the SARAO musical gathering organized by Dudu Falcão; there, Carolina, a prominent figure in Brazilian pop, met Civello and inquired about potential melodies, leading to their immediate creative synergy.[4] Their joint work quickly produced the duet "Resta," which they completed the following day and later performed live in São Paulo, establishing the foundation for further co-compositions.[4] The partnership evolved across multiple cities, reflecting the album's thematic focus on transatlantic connections—embodied in its title, denoting the distance in kilometers between New York and Rio de Janeiro. Co-writing sessions extended to New York, Rio, and Trastevere in Rome, where Civello and Carolina developed songs in a collaborative, improvisational style inspired by Brazilian traditions of communal music-making. Together, they co-authored five tracks, including the bilingual "Resta" (with Dulce Quental), the upbeat "8 Storie," the introspective "Dimmi Perché (10 Minutos)," the bluesy "I Didn't Want (Mais Que a Mim)," and the lively "Sofa" (with Diana Tejera), often starting with melodies and brainstorming lyrics in both Portuguese and Italian.[4] Carolina's acoustic guitar work infused these pieces with rhythmic vitality, as she performed on most of the album's tracks, including principal guitar parts on "8 Storie," "My Somewhere to Go," "I Didn't Want," "Dimmi Perché," and "Sofa."[5] Carolina's influence was instrumental in merging Brazilian Música Popular Brasileira (MPB) elements—such as harmonious grooves and emotional lyricism—with Civello's jazz-oriented sensibility, creating a fusion that incorporated bossa nova rhythms, R&B undertones, and accessible pop structures. This blending emerged organically from their shared sessions, where Carolina's "tremendous groove" on acoustic guitar and cajón (as on "8 Storie") complemented Civello's improvisational jazz phrasing, resulting in a sound that bridged cultural boundaries.[3] Beyond instrumentation, Carolina contributed lead vocals on "Resta," programmed elements on "Sofa," and served as arranger and producer for that track, enhancing the album's textural depth and cross-lingual appeal.[5] Their duet "Resta" achieved commercial success as the theme for the Globo TV soap opera Passione, underscoring the partnership's immediate impact on Brazilian airwaves.[3]Recording and production
Sessions in New York and Rio
The recording sessions for Chiara Civello's album 7752 took place in 2010, following a period of songwriting across New York, Rio de Janeiro, and Rome. This split-location approach mirrored the album's thematic focus on transatlantic connections, with the title itself denoting the 7,752 kilometers between New York City and Rio de Janeiro.[5][6] Eight of the album's ten tracks were recorded in New York City at Fun Machine Studios and Pirata Studios, under the production of Andres Levin. These sessions emphasized a fuller, rhythm-driven sound incorporating elements like samplings, bass, guitars, and vintage textures, allowing Civello to explore pop-infused jazz arrangements with New York-based musicians. In contrast, the remaining two tracks—"Sofà" and "Non Avevo Capito Niente"—were recorded in Rio de Janeiro at studios including Cia. Dos Técnicos, Orbita Studio, and Toca do Bandido, with Civello serving as producer. The Rio sessions featured contributions from Brazilian artists such as Jacques Morelenbaum on cello and strings for the closing track, captured in a historic Copacabana studio previously used by Antônio Carlos Jobim.[5][6] The divided recording process offered distinct sonic benefits, enabling Civello to infuse New York tracks with urban jazz precision while Rio sessions captured vibrant Brazilian rhythms, harmonies, and collaborative energy from impromptu group creations. This logistical setup, though demanding coordination across continents via email exchanges for arrangements, fostered cultural contamination and emotional depth, as Civello noted the "fun" and life-changing immersion in Rio's music scene.[6]Key personnel and techniques
The production of 7752 was led by a core team that emphasized collaborative creativity across cultural boundaries. Primary producers included Andres Levin, who oversaw the majority of the tracks with his eclectic approach to rhythm and arrangement, alongside Chiara Civello and Ana Carolina, who co-produced specific songs such as "Sofà" and "Non Avevo Capito Niente."[5] Sonia Martyres served as product manager, coordinating the project's logistical and artistic elements.[5] Mixing was handled primarily by Bob Power for most tracks, known for his work enhancing organic textures in jazz and pop recordings, with additional mixing by Flavio Senna on select cuts and support from Mark Turrigiano.[5] Technical approaches centered on arranging and programming to fuse live and electronic elements seamlessly. Andres Levin contributed keyboards and programming, layering electronic beats and samples with live instrumentation like acoustic guitars from Ana Carolina and percussion by Mauro Refosco, creating a rich palette of timbres that blended Brazilian rhythms with Italian melodic structures.[5][6] This included bold incorporations of bass lines, electric guitars, and vintage sounds suggested by Levin, alongside string arrangements by Jacques Morelenbaum for the closing track, recorded spontaneously in a historic Rio studio to capture emotional depth.[6] The overall production philosophy prioritized an organic, cross-cultural fusion, reflecting Civello's transatlantic life between New York and Rio de Janeiro. Collaborations with Ana Carolina, who co-wrote five bilingual tracks, highlighted affinities between Italian melody and Brazilian harmony, fostering a sense of "contamination" through fun, daring experimentation rather than rigid jazz conventions.[6] Levin's influence encouraged rhythmic boldness and sampling to achieve a fuller, more percussive pop sound, allowing the album to evolve naturally from Civello's nomadic inspirations without overproduced artifice.[6]Musical style and themes
Jazz and pop fusion
7752 exemplifies a fusion of vocal jazz and pop, enriched by elements of Brazilian Música Popular Brasileira (MPB). This blend is evident in its sophisticated arrangements that prioritize melodic accessibility while maintaining improvisational nuances characteristic of jazz vocal traditions.[5][7] The album draws influences from the vibrant American jazz scenes of New York City and the bossa nova and MPB traditions of Rio de Janeiro, reflecting Civello's experiences bridging these cultural hubs—symbolized by the album's title, denoting the 7,752 kilometers between the cities. Collaborations with Brazilian artists, including singer-songwriter Ana Carolina, infuse tracks with rhythmic subtlety and harmonic warmth derived from MPB.[3][5] Sonically, 7752 employs acoustic guitars for intimate strumming patterns, lush strings for emotional depth, diverse percussion like cajón and bongos for subtle propulsion, and occasional programming to add modern texture, all contributing to a cohesive, warm atmosphere. The album comprises 10 tracks totaling 41:08, allowing space for these elements to unfold organically without overcrowding.[5]Lyrical content
The lyrics of 7752 feature a multilingual approach, incorporating Italian, English, and Portuguese to mirror the album's inspirations from Rome, New York, and Rio de Janeiro. This linguistic blend underscores the cultural exchanges central to Chiara Civello's creative process during the album's development, with songs often weaving phrases across languages to evoke a sense of global interconnectedness.[8][9] Central themes in the lyrics revolve around love, longing, personal growth, and cultural displacement, reflecting Civello's own journeys between continents. As Civello described the album, “Songs are like trains; they take you from one place to another. This collection of songs, I think, is my train home,” capturing the motif of searching for belonging amid relocation and emotional transitions. Tracks explore intimate reflections on relationships and self-discovery, often infused with a playful yet poignant tone that highlights resilience in the face of separation.[9] Songwriting credits on 7752 showcase a collaborative spirit, with Civello penning several tracks solo, co-writing five songs with Brazilian artist Ana Carolina—such as the duet "Resta"—and partnering with others including Itaal Shur on pieces like "My Somewhere To Go." This mix of solo and joint efforts allowed for diverse perspectives, blending personal introspection with shared narratives drawn from Civello's experiences in Brazil's communal songwriting culture.[8][9] For instance, "I Didn't Want (Mais Que A Mim)" delves into emotional vulnerability, portraying the ache of unrequited affection and the struggle to move on from a lost love, with its bilingual structure amplifying the theme of cross-cultural heartache.[10]Release
Album launch
7752 was officially released on May 25, 2010, by EmArcy Records, an imprint of Universal Music Group.[11] The album launched in standard CD format (catalog number 274 1556) and digital download, encompassing its core tracks recorded across New York and Rio de Janeiro.[8] A deluxe edition, featuring additional tracks such as "Tre," was issued in 2011 exclusively in Italy.[12] As Civello's third studio album, 7752 followed her 2007 release The Space Between and preceded 2012's Al Posto del Mondo, marking her continued evolution within the jazz-pop landscape under the EmArcy banner.Commercial performance
Despite its artistic merits, 7752 achieved limited commercial success, reflecting the challenges faced by niche jazz releases in mainstream markets. The album peaked at number 51 on the Italian Albums Chart, where it spent a total of two weeks, but it did not enter major international charts such as the Billboard 200.[13] Post-release promotional efforts included live performances and tours across Europe, the United States, and Brazil, capitalizing on Civello's transatlantic influences and collaborations. These appearances helped sustain interest among jazz enthusiasts in key markets, with notable shows in Rio de Janeiro highlighting the album's Brazilian roots.[14] To extend its market reach, a deluxe edition of 7752 was issued in 2011, featuring additional tracks and bilingual content to appeal to both Italian and international audiences.[12] The album's ties to the broader jazz and Latin music scenes were underscored by Civello's prior collaboration with Dominican artist Juan Luis Guerra on the 2007 track "Something Good" from La Llave de Mi Corazón, sharing influences in fusion styles that bridged jazz with tropical rhythms.[15]Reception
Critical reviews
Upon its release, 7752 received positive critical attention, particularly for its fusion of jazz, pop, and world music influences. User reviews were similarly enthusiastic, with an average rating of 4.6 out of 5 on Amazon from 15 global ratings, where listeners highlighted the emotional depth of the tracks and Civello's vocal prowess as standout features.[16] On RateYourMusic, the album averaged 3.0 out of 5 from 7 ratings, with users noting similar strengths in emotional resonance and vocal delivery, though some found it less impactful overall.[7] Common praises across reviews centered on Civello's versatile voice, which seamlessly navigates multilingual lyrics and genres, the strong collaborations with artists like Ana Carolina that enrich the world music aspects, and the evocative themes of longing and cultural connection.[16] Some critiques pointed to the production's occasional overly polished sheen, which could feel restrained, and a perceived lack of broader mainstream appeal despite its niche strengths.[17] The overall consensus positioned 7752 as a well-regarded work in jazz circles, valued for its innovative approach to bossa nova-infused pop and personal storytelling.[7]Legacy
7752 played a pivotal role in establishing Chiara Civello as a cultural bridge between Italian, American, and Brazilian music scenes, blending her Italian heritage with jazz influences from her Berklee College of Music training in Boston and New York mentorships, alongside deep immersion in Rio de Janeiro's bossa nova and samba traditions through collaborations with artists like Ana Carolina and Jacques Morelenbaum.[18] This fusion not only highlighted her multilingual capabilities—singing in Italian, English, Portuguese, and more—but also positioned her as a transnational artist whose work resisted cultural silos, embodying a "borderless" approach to vocal jazz.[18] The album's emphasis on hybridization influenced Civello's subsequent releases, notably paving the way for her 2012 album Al Posto del Mondo, which further explored themes of displacement and global interconnectedness while building on the Brazilian-inflected jazz-pop sound of 7752.[19] In broader terms, 7752 contributed to the evolving landscape of global vocal jazz in the 2010s by exemplifying diaspora-driven innovation, where artists like Civello mapped personal journeys of transformation across continents, enriching modern jazz with emotional depth and cross-cultural dialogues.[18] Culturally, the album underscored diaspora themes central to contemporary jazz, portraying music as a vehicle for healing and unity amid migration and cultural exchange, a motif that resonated in Civello's oeuvre and echoed Brazilian Tropicalismo's anthropophagic ethos of absorbing diverse influences to reimagine one's roots.[18] Its enduring presence was affirmed by the 2011 Deluxe edition release, which expanded its accessibility and introduced additional tracks, sustaining interest in Civello's early fusion experiments.[12]Credits
Track listing
All tracks are written by Chiara Civello, except where noted.[5]Standard edition
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "8 Storie" | Ana Carolina, Chiara Civello | 4:05 |
| 2. | "My Somewhere to Go" | Chiara Civello, Itaal Shur | 4:19 |
| 3. | "I Don't Want" | Ana Carolina, Chiara Civello | 4:05 |
| 4. | "Dimmi Perché" | Ana Carolina, Chiara Civello | 3:58 |
| 5. | "Un Uomo Che Non Sa Dire Addio" | Totonho Villeroy (music), Chiara Civello, Stefano Scandaletti (lyrics) | 2:48 |
| 6. | "One More Thing" | Chiara Civello | 4:47 |
| 7. | "Sofà" | Ana Carolina, Chiara Civello, Diana Tejera | 3:05 |
| 8. | "Resta" (featuring Ana Carolina) | Ana Carolina, Chiara Civello, Dulce Quental | 5:22 |
| 9. | "I'm Your Love" | Chiara Civello | 4:21 |
| 10. | "Non Avevo Capito Niente" | Chiara Civello | 4:23 |