Sultry voice, poetic lyrics and surprising harmonies are just a part of the recipe that makes Chiara's music so irresistible.
The distance she has traveled is both musical and spiritual-literally stretching across the Atlantic Ocean. Born in Rome, Chiara was encouraged to play the piano by her grandmother; she kids that her nonna's out-of-tune upright afforded the best ear training. She briefly tried the acoustic guitar, but that ended almost comically with a drive to get some gelato. "The little car only had two doors," she remembers. "When I sat down, I broke the neck of the guitar. That was it for me. No more guitar. My mother said, 'You'd better sing, girl!'"
Chiara had already been in some classical choirs, but was looking for something freer than the operatic traditions of her homeland. A friend suggested that she learn jazz; she'd never heard of it. A little investigation brought her to a private music school that she would attend through her four years of high school: the St. Louis Music Academy in Rome. When she was sixteen, Chiara began singing professionally and won a scholarship to the prestigious Berklee College of Music in Boston. She enrolled there from 1994-98. By the first year Chiara was a regular on the Boston club scene, performing with different bands.
But her journey didn't end with Boston or jazz. Chiara's move to New York City was inevitable. Searching for something musically closer to her Mediterranean roots, she immersed herself in Latin and Brazilian music, learning Spanish and Portuguese along the way. She also wrote her first song, "Parole Incerte" ("Uncertain Words"), about the misunderstandings that can come from the distance between a person and her loved ones.
Meanwhile, two of Chiara's bandmates - pianist Alain Mallet and drummer Jamey Haddad - had begun working with Paul Simon and invited her to a rehearsal. It was there that she met producer Russ Titelman and left him with a demo of "Parole Incerte." He called the very next day and insisted, "You are a songwriter. Forget about everything else you are doing. You have to write." Chiara began composing lyrics in English. She studied the work of Bob Dylan, Joni Mitchell, James Taylor.
Titelman let president and CEO of Verve hear the song and the next day Chiara was offered a record deal that not only allowed her to enter the studio but made her the first Italian born to be signed by Verve Records.
From this series of encouraging and exciting encounters emerged the 10 original compositions included on her debut album LAST QUARTER MOON, Verve2005; seven written by herself and three co-writes, including the brooding ballad "Trouble" that was co-written with legend Burt Bacharach. "I had almost every song on the album," recalls Chiara, "when Russ called me to say that Burt Bacharach was interested in writing with me." "Trouble" came together during a three day session at Bacharach's Los Angeles home. Chiara arrived with an idea for the melody; they shaped and refined it as a team.
The first album granted her a first round of the world and great position in the charts of italy and Japan.
Billboard Magazine noted that, “the beauty, charm and allure of singer/pianist/songwriter Chiara Civello’s debut…makes for an auspicious beginning and marks the first revelation of the New Year.” The International Herald Tribune declared “her combination of personality, soulfulness and sophistication…striking.”
The second album The Space Between (2007 Universal Classic and Jazz) produced by Steve Addabbo , shows a more intimate and immediate side of the singer songwriter, leading us us through a journey of thirteen beautiful moments where we feel we can get really close to her.
“This is a record about ‘the space between’. The space between the notes, the silence between words, the space between me and you, me and my past, me and my future, and all the spaces between that nowadays are so difficult to stop and think about….the space between that makes you feel the reality better, the space that makes you miss someone, the space between that makes you not say everything all at once, but bit by bit, as the need of saying it gets stronger in you. The space between what I think and what I say… In Italy, we have a saying: Between saying and doing, there is the sea.”
The album entered successfully the Italian and Japanese chiarts and led her to new important artistic collaborations.
Definitely an itinerant soul, Chiara describes her life as:” My home is the world, as long as there’s a piano at the destination, my world fits in a suitcase, the rest I carry with me : my computer and my guitar.
"Jazz was the most incredible diving machine when it came to going really deep into music," says Civello, about her path of discovery, one sure to continue in the future. "But I knew I couldn't be the new Ella Fitzgerald; I couldn't be the new Shirley Horn. I learned all different kinds of music and then I said to myself, 'I need to find my own voice. Time to unlearn now, time to be free.' It's like a hot air balloon: To be able to fly you have to throw off the sandbags. I want to be as light as I can-light as a feather."
“In the first album you search, in the second you focus, in the third you find yourself…. and here I am,” says Chiara Civello in describing her third album titled “7752” of upcoming release.
7752 is the distance in Kilometers from New York City to Rio de Janeiro, the two cities that provided the inspiration for this album. New York is where Chiara lives, while Rio changed Chiara’s life…
While visiting her friend, Daniel Jobim, in Rio in February 2008, Chiara was taken to a party (known as SARAO) where artists and musicians of all kinds get together. The guitar went around and everyone sang a song. As Chiara shared, listened, and learned, a new phase of her artistic path began.
“Co-writing I was already familiar with,” says Chiara, “since those unforgettable three days spent in Santa Monica in which I wrote Trouble with Burt Bacharach for my first album…but in Brazil everyone co writes. It’s a big party, everyone shares and dares and makes it happen.”
Ana Carolina, a Brazilian pop star, is one of the main collaborators of 7752. Not only did she co-write five of the songs with Chiara, but she also played acoustic guitar on most of them. “We met at that party and she asked me if I had a melody for her, so the next day I started RESTA, a song that soon after we finished together and sang as a duet live in Sao Paulo.” Success has already accompanied the collaboration with Ana Carolina, as RESTA will be featured on the new Novela of Globo TV called “Passione,” starting on May 17, 2010.
Written between Rio, New York, and Trastevere (Rome), 7752 includes ten musical moments of which eight were recorded in NYC (and produced by the eclectic producer Andres Levin), while four were recorded in Rio and produced by Chiara herself.
“All my friends and favorite musicians merged into this record in the most natural way…it was like bringing the Rio spirit into the studio: Mauro Refosco (Thom Yorke, David Byrne, Forro’ in The Dark) and Guilherme Monteiro (Ron Carter, Forro in The Dark) had already recorded with me and I couldn’t possibly think of a record without them, Anat Cohen is one of my best friends and I have always wanted to have her on my album but we never were able to make it happen; Jaques Morelenbaum is one of the most talented and sentimental musicians I have ever met; Mark Ribot was the perfect guy for these songs, not to mention the great rhythm section that Andres brought in the studio, Gene Lake on the drums and Jonathan Maron on the bass. Ana Carolina who wrote most of the songs with me already owned them on the acoustic guitar and added her tremendous groove to them”.
Already defined as an “enticing and contagious” album, 7752 sounds lively, while portraying a new, playful and joyous aspect of Chiara’s singing and songwriting. The sound is a beautiful alchemy among the 60s, Italian melody, Brazilian harmonies, and R&B.
http://www.chiaracivello.com
Col tempo sai
Chiara Civello Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
col tempo tutto se ne va
non ricordi più il viso
non ricordi la voce
quando il cuore ormai tace
a che serve cercare ti lasci andare
e forse è meglio così
Col tempo saicol tempo tutto se ne va
l'altro che adoravi e cercavi nel buio
l'altro che indovinavi in un batter di ciglia
tra le frasi e le righe e il fondotinta
di promesse agghindate per uscire a ballare
col tempo sai tutto scompare
Col tempo sai
col tempo tutto se ne va
Ogni cosa appassisce io mi scopro a frugare
In vetrine di morte quando il sabato sera
La tenerezza rimane senza compagnia
Col tempo sai
Col tempo tutto se ne va
L'altro a cui tu credevi anche a un colpo di tosse
L'altro che ricoprivi di gioielli e di vento
Ed avresti impegnato anche l'anima al monte
Per cui ti trascinavi alla pari di un cane
Col tempo sai tutto va bene.
Col tempo sai
Col tempo tutto se ne va
Non ricordi più il fuoco
Non ricordi le voci della gente da poco
E il loro sussurrare
Non ritardare copriti col freddo che fa
Col tempo tutto se ne va
E ti senti il biancore di un cavallo sfiancato
In un letto straniero ti senti gelato
Solitario ma in fondo in pace col mondo
E ti senti tradito dagli anni perduti
cllora tu col tempo sai non ami più
cvec le temps
cvec le temps, va, tout s'en va
On oublie le visage et l'on oublie la voix
Le cœur, quand ça bat plus, c'est pas la peine d'aller
Chercher plus loin, faut laisser faire et c'est très bien
cvec le temps
cvec le temps, va, tout s'en va
L'autre qu'on adorait, qu'on cherchait sous la pluie
L'autre qu'on devinait au détour d'un regard
Entre les mots, entre les lignes et sous le fard
D'un serment maquillé qui s'en va faire sa nuit
cvec le temps tout s'évanouit
cvec le temps
cvec le temps, va, tout s'en va
Mêm' les plus chouett's souv'nirs ça t'as un' de ces gueules
c la gal'rie j'farfouille dans les rayons d'la mort
Le samedi soir quand la tendresse s'en va tout' seule
cvec le temps
cvec le temps, va, tout s'en va
L'autre à qui l'on croyait pour un rhume, pour un rien
L'autre à qui l'on donnait du vent et des bijoux
Pour qui l'on eût vendu son âme pour quelques sous
Devant quoi l'on s'traînait comme traînent les chiens
cvec le temps, va, tout va bien
cvec le temps
cvec le temps, va, tout s'en va
On oublie les passions et l'on oublie les voix
Qui vous disaient tout bas les mots des pauvres gens
Ne rentre pas trop tard, surtout ne prends pas froid
cvec le temps
cvec le temps, va, tout s'en va
Et l'on se sent blanchi comme un cheval fourbu
Et l'on se sent glacé dans un lit de hasard
Et l'on se sent tout seul peut-être mais peinard
Et l'on se sent floué par les années perdues, alors vraiment
cvec le temps on n'aime plus
"Col tempo sai" by Chiara Civello explores the inevitability of time and its effects on love, memory, and the essence of relationships. The repeated refrain "col tempo tutto se ne va" underscores a poignant acceptance that with time, everything fades away. This lyric encapsulates the gradual erosion of recollections, highlighting how faces and voices, once vibrant and full of significance, become mere echoes in the abyss of time. It speaks to a universal truth about human experience—the inevitability of forgetting those we once loved deeply, as the emotional intensity that once bound us to them diminishes with time. This phenomenon is echoed in the reflection on a heart that "tace" (is silent), indicating an emotional withdrawal that accompanies the passage of time. The singer's resignation to letting go of past attachments, acknowledging that perhaps it is better to embrace this loss, reveals a mature understanding of love's transitory nature.
In this context, the lyrics serve as a meditation on the ephemeral nature of connections and desires. The mention of the "altro che adoravi" evokes the sense of longing and idealization that often accompany relationships, capturing the feelings of seeking and cherishing another person yet recognizing that these sentiments become obscured by time's relentless march. The vivid imagery of searching for someone "nel buio" (in the dark) denotes a journey filled with hope and anticipation, but the subsequent realization that "tutto scompare" (everything disappears) delivers a bittersweet punch. Even the elaborate promises made in the spirit of love—framed as "promesse agghindate" (dressed promises)—end up losing their luster, leaving the singer to confront the stark reality that emotions can become as fleeting as the glamour of a night out dancing.
Moreover, the lyrics delve into the isolation that comes with this passage of time. As the singer reflects on their experiences, they highlight moments now stripped of their former joy, particularly during weekend nights when "la tenerezza rimane senza compagnia" (tenderness remains alone). This sentiment evokes a sense of melancholy, portraying how the once-vibrant interactions and companionship inherent in love give way to solitude and a profound sense of loss. Furthermore, the metaphor of "frugare in vetrine di morte" (searching through windows of death) conveys a sense of nostalgia tinged with sadness, as the individual grapples with the remnants of relationships that have since faded away. This poignant imagery reinforces the emotional weight of the song, as it resonates with listeners who may have experienced similar heartfelt losses and reflections on love.
Ultimately, the nuanced expression of solitude culminates in an acceptance of life's transience within the song. The evocative line "ti senti tradito dagli anni perduti" illustrates the deep sense of betrayal one may feel when confronted with lost time and fading love. However, amid this realization, there exists a quiet peace suggested in the assertion that one may feel "solitario ma in fondo in pace col mondo" (lonely but at peace with the world). This juxtaposition encapsulates a profound acceptance of life's impermanence, suggesting that, while time may diminish passion and memory, it also brings an understanding that can lead to a sense of peace. As the narrative concludes with the acknowledgment that one no longer loves, it serves as a reminder that the passage of time, while often painful, can bring clarity and a liberating sense of closure, allowing the heart to move forward.
Line by Line Meaning
Col tempo sai
With time, you understand
col tempo tutto se ne va
everything inevitably fades away
non ricordi più il viso
you can no longer recall the face
non ricordi la voce
you've forgotten the sound of their voice
quando il cuore ormai tace
when the heart has fallen silent
a che serve cercare ti lasci andare
what's the point of searching, let it go
e forse è meglio così
perhaps it’s for the best
Col tempo sai
With time, you know
col tempo tutto se ne va
everything eventually disappears
l'altro che adoravi e cercavi nel buio
the one you cherished and sought in darkness
l'altro che indovinavi in un batter di ciglia
the one you sensed in the blink of an eye
tra le frasi e le righe e il fondotinta
amid the sentences, lines, and makeup
di promesse agghindate per uscire a ballare
of adorned promises meant for a night out dancing
col tempo sai tutto scompare
with time, everything vanishes
Col tempo sai
With time, you realize
col tempo tutto se ne va
everything inevitably fades away
Ogni cosa appassisce io mi scopro a frugare
everything wilts, and I find myself rummaging
In vetrine di morte quando il sabato sera
in the displays of death on Saturday nights
La tenerezza rimane senza compagnia
tenderness remains lonely
Col tempo sai
With time, you learn
Col tempo tutto se ne va
everything eventually slips away
L'altro a cui tu credevi anche a un colpo di tosse
the one you believed in, even for the smallest thing
L'altro che ricoprivi di gioielli e di vento
the one you adorned with jewels and warmth
Ed avresti impegnato anche l'anima al monte
you would have mortgaged your soul
Per cui ti trascinavi alla pari di un cane
for whom you dragged yourself like a dog
Col tempo sai tutto va bene.
with time, everything turns out fine.
Col tempo sai
With time, you come to see
Col tempo tutto se ne va
everything eventually fades away
Non ricordi più il fuoco
you no longer remember the fire
Non ricordi le voci della gente da poco
you forget the voices of those who mattered little
E il loro sussurrare
and their whispering echoes
Non ritardare copriti col freddo che fa
don’t delay, shield yourself from the biting cold
Col tempo sai
With time, you understand
Col tempo tutto se ne va
everything finally disappears
E ti senti il biancore di un cavallo sfiancato
you feel like the whiteness of a worn-out horse
In un letto straniero ti senti gelato
in a foreign bed, you feel frozen
Solitario ma in fondo in pace col mondo
lonely yet deep down at peace with the world
E ti senti tradito dagli anni perduti
and you feel betrayed by the lost years
cclora tu col tempo sai non ami più
so now, with time, you know you no longer love
cvec le temps
with time
cvec le temps, va, tout s'en va
with time, everything leaves
On oublie le visage et l'on oublie la voix
we forget the face and the voice
Le cœur, quand ça bat plus, c'est pas la peine d'aller
the heart, when it no longer beats, there's no use in seeking
Chercher plus loin, faut laisser faire et c'est très bien
searching further serves no purpose; just let it be, and it's alright
cvec le temps
with time
cvec le temps, va, tout s'en va
with time, everything fades away
L'autre qu'on adorait, qu'on cherchait sous la pluie
the one we adored, whom we sought in the rain
L'autre qu'on devinait au détour d'un regard
the one we guessed at the turn of a glance
Entre les mots, entre les lignes et sous le fard
between the words, beneath the lines, and under makeup
D'un serment maquillé qui s'en va faire sa nuit
of a made-up oath that goes off to its night
cvec le temps tout s'évanouit
with time, everything vanishes
cvec le temps
with time
cvec le temps, va, tout s'en va
with time, everything slips away
Mêm' les plus chouett's souv'nirs ça t'as un' de ces gueules
even the sweetest memories lose their flair
c la gal'rie j'farfouille dans les rayons d'la mort
in the gallery, I rummage through the shelves of oblivion
Le samedi soir quand la tendresse s'en va tout' seule
on Saturday nights when tenderness leaves alone
cvec le temps
with time
cvec le temps, va, tout s'en va
with time, everything departs
L'autre à qui l'on croyait pour un rhume, pour un rien
the one we relied on for a mere cold, for nothing
L'autre à qui l'on donnait du vent et des bijoux
the one to whom we gave air and adornments
Pour qui l'on eût vendu son âme pour quelques sous
for whom one would have sold their soul for mere coins
Devant quoi l'on s'traînait comme traînent les chiens
before whom we dragged ourselves like dogs
cvec le temps, va, tout va bien
with time, everything will be fine
cvec le temps
with time
cvec le temps, va, tout s'en va
with time, all things fade away
On oublie les passions et l'on oublie les voix
we forget the passions and the voices
Qui vous disaient tout bas les mots des pauvres gens
that softly spoke the words of the downtrodden
Ne rentre pas trop tard, surtout ne prends pas froid
don't come home too late, especially don’t catch a chill
cvec le temps
with time
cvec le temps, va, tout s'en va
with time, everything slips away
Et l'on se sent blanchi comme un cheval fourbu
and we feel drained like a weary horse
Et l'on se sent glacé dans un lit de hasard
and we feel frozen in a bed of chance
Et l'on se sent tout seul peut-être mais peinard
and we feel perhaps all alone but at ease
Et l'on se sent floué par les années perdues, alors vraiment
and we feel cheated by the lost years, truly
cvec le temps on n'aime plus
with time, we no longer love
Lyrics © O/B/O APRA AMCOS
Written by: Leo Ferré
Lyrics Licensed & Provided by LyricFind