Press Release: New Album Frances Livings’ Ipanema Lounge

 

 : : FOR IMMEDIATE RELEASE : : MOONTRAXX, LOS ANGELES, SEP. 2016 : :

Capturing a rich atmosphere of cultural diversity, this sensual, multi-lingual world jazz album, with songs in French, English, Spanish and Portuguese, guarantees to carry you along on an emotional journey.

Moontraxx Records & Music Productions proudly presents the release of Frances Livings’ new album, Ipanema Lounge. The official release party and live show will take place on Thursday, September 15, 2016 at 7pm at Genghis Cohen, Los Angeles. If you are a member of the press please contact us here to receive a free copy and a VIP spot on the guest list.

                      Whenever I meet a new song, I fall madly in love with it. I think, why haven’t I met you before?

                                                                                                ~ Frances Livings

The multi-lingual world-jazz album Ipanema Lounge, produced by the artist Frances Livings in collaboration with the composer, arranger and guitarist Greg Porée for Moontraxx Records Los Angeles, captures a rich atmosphere of cultural diversity.

As a vocalist and a songwriter, Frances Livings has always been drawn to the unique crafting of a song, to its rhythm, melody, texture, linguistics and story. Frances discovered early in her career that you don’t have to be a native of any country to become attached to its culture. Another source of inspiration were her travels, like extensive stays in Southern Europe, and from having lived and worked in the multi-ethnic melting pot Los Angeles for the last decade. Bringing to this album even more than her deep love of these cultures, she choose a foreign language repertoire. She selected songs written by artists native to countries such as France, Mexico and Peru, whose tunes with their unique phonetical sounds evoke a very classy and lush atmosphere.

The cello is considered to be one of the most expressive and satisfying instruments to listen to. Its ability to speak beautifully whether in a low or high register makes it a joy for composers to write for. Frances’ alto voice resonates in the same manner. With her richness of overtones, she brings a wide range of emotion and passion to each song, truly a gift for the listeners.

COVER_Ipanema Lounge Frances 600x600The album’s thirteen songs, in French, English, Spanish and Portuguese, guarantee to carry you along on this emotional journey. With each new melody, you are immersed into a new locale, yet never fully leave the last one. They will transport you to the contemporary bars and lounges of urban metropolises, where French art house chansons, soulful American standards and groovy Brazilian music have had their undeniable impact on today’s global music and art culture.

The musical ensemble succeeds in bringing out the colours of these tunes, which range from contemporary to classical – the oldest song being from 1946. The jazz standard One Note Samba is a perfect example of the musical imagination and refreshing engagement that was brought to the production.

On Corcovado, Waters of March, Aganjú and One Note Samba, Greg Porée re-harmonized and restructured their arrangements, giving a brand new perspective to these familiar songs. Joey Heredia created an enticing drum pattern that possesses the dramatic nuances of a New Orleans march and that compliments Trey Henry’s moody bass in the intro and his syncopated patterns in the verse and bridge. These killer grooves Greg contrasted with steel string acoustics that were used to create dissonant pads for Frances’ playful vocal.

Rhythmically, Sandro Feliciano (percussion) and Isaias Elpes (electric bass), originally from Brazil, contributed very fresh cultural perspectives in developing their parts: On Jardin d’Hiver they were playful and danceable, on Aganjú and Come Closer the percussion and bass underpinnings were in a contemporary, sultry and passionate Nu Jazz style, and on Hoy they captured the flavours of Peru and Mexico. The exotic flairs of Argentina and Paris were brought to Hoy and Jardin d’Hiver by Mariano Dugatkin with his bandoneon.

On the ballads Dansez Maintenant, La Puerta and Pour te Plaire, the accompaniment for Frances’ intuitive vocal delivery required the highest level of experience, technical skill and sensitivity. The jazz veterans Jeff Colella on piano and Trey Henry again on double bass, along with Frances’ vocals, took these ballads way past the generic renditions one normally hears. Joe Ayoub played with similar musical insight on double bass on Sway and Waters of March. Darrell Diaz, a Los Angeles veteran, went way beyond the norm with his creative solos in Tell Me All About It and Waters of March, including his tasteful keyboard support on Jardin d’Hiver, Come Closer, Hoy and Sway.

For Dindi, Waters of March, Hoy and Corcovado Greg Porée created signature parts on the classical guitar that are elegantly cohesive in nature and especially impactful on Waters of March. Instrumentally, this set the stage for Frances’ and the band’s superb performance. On Dindi her beautifully crafted vocal was complimented by the linear sounds of an almost whimsical archtop guitar. For Dansez Maintenant and Pour the Plaire the atmosphere was the intimate, late night jazz club that also suited the sound of that guitar.

One of the four guest soloists was Paul Cartwright on violin who added an imaginative and atmospheric solo to the already haunting track Come Closer. John Nau did the same on electric piano for Corcovado. The studio veteran Nolan Shaheed’s trumpet ad libs on Sway take you right back to Cuba of the 1950’s, and when faced with the challenge of playing a solo over completely new chord changes for One Note Samba, Nolan rose to the occasion and took the song to new heights. On Aganjú, the interplay between Robert Kyle’s multi-layered flute and saxophone tracks and Frances Livings’ vocals brought a unique sensuality and Nu Jazz feel not previously heard on this Latin hit song.

The song sequence reflects the cycle and harmony of a day. Its moods flow through us as we awake, engage, dance, mourn and love. Some songs convey a playful attitude, like the staccato romance of possibility of Jardin d’Hiver that opens the morning. As the hours count noon, the poetic Waters of March followed by Dansez Maintenant meander us into the afternoon. Aganjú transports us into evening with its sultry tone. Come Closer, penned by Frances and the German bassist and songwriter Volker Schwanke, captures the intensity of longing and never attaining. The Portuguese ballad La Puerta exhibits a sensual flare for the dramatic and Corcovado evokes the serenity of dusk.

Sway, originally written by a Mexican composer and made famous by Dean Martin, is a flirtatious invitation for more. We transcend twilight with Pour te Plaire, an adaption of Glenn Miller’s famous jazz standard Moonlight Serenade. This French version is a perfect example of Frances Livings’ vision – how shifting language alters atmosphere, meaning and scenery. Passion flares our senses as we lay exposed, open to the magic of the night.

Each language is like a beautiful musical composition, made up of its own unique melody, rhythm and form.

                                                                                                ~ Frances Livings

PRESS CONTACT: by email Moontraxx@icloud.com by mobile phone (1) 323 719-0747

COMPANY WEBSITE: http://www.moontraxx.com

ARTIST’S WEBSITE: https://franceslivings.com

 

Frances Livings’ Ipanema Lounge ~ New Album Out Soon!

Ipanema-Lounge-Project_550px

Frances Livings’ Ipanema Lounge

I am very excited to announce that we have almost finished recording a new 12-song world jazz album called “Ipanema Lounge”. The songs range from dramatic and emotional, melancholic, to up-tempo, fun and groovy. Atmospherically, the recordings create a blend of Southern European sounding music and Latin jazz – I have not only sung in English but also in French, Spanish and Portuguese.

Co-produced with the guitarist, arranger, composer and producer Greg Porée, I feel very fortunate that we have been able to attract not only the best musicians in Los Angeles but also a great diversity. Please look at a list of the credits down below. We are hoping to have the album mixed and completed as a physical CD by the end of May 2015. I will be presenting the demo album at the internationally attended Jazzahead conference in Bremen, Germany this April 2015 to gain some support with booking, management and promotion.

Ipanema Lounge has grown as a project in an interesting way over the last few months. The project evolved from being a tribute to Antônio Carlos Jobim to becoming a repertoire of very unique and interesting, international songs. Originally, Greg Porée and I were seeking for some music that would allow us to perform together. Greg’s music is instrumental and guitar-oriented and mine is more piano based and rarely features the guitar. So I started searching for songs that would not only feature both the voice and the classical guitar but also represent some kind of special theme.

Suddenly I found myself emerged in a lot of music in foreign languages. For reasons I cannot explain, I felt very connected to songs in these romance languages, to their different sounds and colourings. This suddenly – being the word and language lover I am – became another new and exciting avenue to explore. One of the best compliments I recently received after one of our shows was someone saying that she had felt transported to all these different countries, as if she had just been on holiday.

Some of these songs were new discoveries but others I have been cherishing now for quite a long time. Like “La Puerta”, one of my all time favourite ballads. It was originally written by the Mexican songwriter Luis Demetrio (1931-2007) and made popular in Europe by the Dutch singer Laura Fygi. I later discovered that Demetrio co-wrote another favourite song of mine, “Sway” with the bandleader Pablo Beltran Ruiz (1915-2008) which is also on the album, half in English and half in Spanish. The English lyrics are by Norman Gimbel who became famous through his English lyrics of “The Girl From Ipanema”, an Antônio Carlos Jobim song I also sometimes sing live.

Greg Porée, who has worked for countless international artists, was also the lead guitarist in the orchestra of the BBC hit show Dancing with the Stars for eight years. The repertoire ranged from rap to classical. Greg’s spectrum of musicality therefore stems from so many areas. Live and on these recordings he delivers not only the harmonious tones of the classical guitar but also the inventive arrangements and creative grooves that make the recordings so unique. Our recording of the famous Jobim song, Waters of March stands in a way for Greg’s inventiveness. By creating a harp-like arpeggiated guitar figure, the notion of a flowing river was created.

I am a jazz vocalist with a background in pop, electronica and nujazz. It was therefore natural for both Greg and me to applied a creative fusion-approach with soul and pop influences to the songs. The infectious grooves on the fun and up-tempo songs, like Sway and Aganjú, are typical for Latin jazz and is very much coined by our drummer and percussionist. This world-jazz approach has already garnered us in Los Angeles a loyal audience of both jazz enthusiasts and those who have never considered themselves jazz fans.

Credits:

Frances Livings – vocals

Greg Porée – guitar

Jeff Colella – piano & keyboards

Darrell Diaz – keyboards

Trey Henry – upright bass

Isaias Elpes – electric bass

Joe Ayoub – upright bass

Joey Heredia – drums & percussion

Sandro Feliciano – percussion

Nolan Shaheed – trumpet

Mariano Dugatkin – bandoneon

Recorded at Nolan Shaheed’s in Pasadena, produced by Frances Livings & Greg Porée 2015

The Ipanema Lounge project gives you the sweet sounds of Brazilian music that are sure to please. ~ Paul Anderson, KJAZZ 91.5 

Eating the darkness songwriting inspiration Francesca Woodman Wallpaper empty room abandoned building naked floorboards self-portrait

Eating the Darkness. Francesca Woodman’s Wallpaper

 

I was browsing through The New York Times when one article really grabbed my attention. It was on the American photographer, Francesca Woodman, whose work I had only recently discovered. Her oeuvre consists mainly of quite unusual self-portraits and one of her pictures, titled Vanishing Act had inspired me a while ago. It had actually helped me complete my song, Eating the Darkness that I recorded for my first solo album. I learned that over 120 of her works were being displayed at the prestigious Guggenheim in New York, which felt really exciting – because, in a way, it was actually quite personal.

I love art photography and can easily lose myself scouring the Internet, searching for interesting pictures and inspiration. That particular day I was compiling a collection of photos, mainly by female artists. A lot of them were in black and white, many with a surrealistic approach, and somewhat dramatic and staged effects. I didn’t have any specific motifs or topics in mind but just followed my instincts and mood. I downloaded quite a few pictures, whose meaning especially struck or touched me on a very visceral level.

 

Collecting Inspiration From Other Artists

It was the contemporary visual artist Christian Marclay who stated, in the context of creating his video collage The Clock:

If you make something good and interesting and [are] not ridiculing someone or being offensive, the creators of the original material will like it.

Not only is Marclay a collector of images himself, but for his acclaimed installation, which is 24-hours long, he collected thousands of film and television images of clocks film clips depicting time. He created a montage of, edited together so they show the actual time.

Eating the darkness songwriting inspiration Francesca Woodman Wallpaper empty room self-portrait
© Francesca Woodman, Vanishing Act (Space2) 1976

These collections of images often trigger my own creativity by directing me towards a topic – a topic that has most likely already been slumbering in my sub-conscience. Images act for me like teasers or “dream catchers” or even as surfaces for my own emotional projections. Traditionally, this is actually known as Ekphrasis, which means “description” in Greek. An ekphrastic poem, for instance, is a vivid description of a scene or, more commonly, a work of art – whereby the poet may amplify and expand its meaning. It is used to convey the deeper symbolism of the corporeal art form by means of a separate medium.

 

Conveying Feelings in Song Lyrics

In this particular situation, images, thoughts, and feelings must have all run together: I was both deeply touched and inspired by that photograph of Woodman. It not only helped me to get unstuck emotionally but ended up delivering a line for my song, Eating the Darkness.

I had been playing around on the piano – which is what my usual songwriting process looks like – and working on the song Eating the Darkness (click on the title to read the lyrics). I wanted to capture feelings of loneliness and despair, staged in the isolation of an apartment or a room. These are the first verses of the song:

 

I turn the key and stare into a
long, dark corridor
I see the furniture – untouched and cold,
the emptiness starts to unfold.

Dust has settled with no delay
upon my absence, during the day
while everything’s / just frozen in its place
from when I left at twenty past eight

Like with a lot of my songs I went through a strange process: There is an initial spark, the idea or inspiration but still a lot of work to be done. Some songs practically write themselves but with others its like being in labour with pains and horrible cramps burgeoning into anxiety. But when you finally summon up that energy and determination to push, you give birth to something that almost immediately takes on a magical life of its own. If you can’t activate that courage to face all of those feelings, the idea dies.

 

How to Convey  Feeling Invisible?

I just felt that in the chorus there was still a strong image missing, which is why I kept getting stuck. Even playing the melody over and over again wasn’t helping. I felt that the song per se was strong and authentic. It had emerged very out of the depth of my guts like from a deep-sea cavern. But I wanted to explore and express a feeling of hopelessness, set in the isolation of a room. How could I convey that gnawing and devastating emotion of not feeling relevant, of feeling invisible? Suddenly this photograph entered my mind. It just presented itself. So I opened up my laptop and fished it out of my pictures folder.

The photograph, Vanishing Act from 1976, partially shows the torso of a nude standing on broken, wooden floorboards, in front of the wall of an obviously derelict building. The anonymous, faceless woman is half-covering her body with large sections of the peeling wallpaper – with which she seems to be almost merging. 

“Fading into the wallpaper”, I thought. And suddenly the chorus was complete:

 

And I sit here eating the darkness
and the darkness eats at me
I am fading into the wallpaper
on the second floor apartment number two-o-three

 

Who Is Francesca Woodman?

Prior to finding that photograph I hadn’t heard of the artist Francesca Woodman before. Of course, her name, derived from the same source as mine, caught my attention. But it was after having completed the song lyrics that I suddenly wondered, where and in which stage of her life would I find her? I set out to contact her. Not only did I want to thank her for the inspiration but I also wanted to share my work once the song was recorded…

It only took a few seconds on Google and I was staring at the ugly word – suicide.

Unexpectedly, I just hit the wall. No pun intended.

Suicide is usually the result of deep and dark depression, of being in a place of utter hopelessness. Maybe my highly sensitive side, also my dark side had intuitively picked up on the tragedy of her death through that very picture. Was that why ultimately, my writing had become fluent again? At the same time, questions started rolling in…

Had she perhaps felt that she had exhausted her artistic reservoir with nothing left to say? Had she lived “too fast”? Was she able to channel these feelings so well, because she also suffered in such an intense way? Was this why the photograph had had such a deep impact on me?

But did I really want to speculate about her reason to end her life?

No. I decided to distance myself. I suddenly felt eerily close, almost intrusive upon her life, like a voyeur. So I refocused on my song and recorded it.

 

Images Full of Self-expression, Texture, and Sense of Composition

I didn’t go back to look at more of Woodman’s work until weeks later. A lot of it I still hadn’t seen and I was still very curious about it. What I really appreciate about her photographs is her self-expression, the use of textural elements, and her sense of composition. Her open and almost Victorian sense of Romanticism may be “girlish” as some critics say, but it is also very self-exposing. Some of the pictures are in a square vintage style format, reminding me of Instagram. I find many of Woodman’s pictures playful as well as incredibly mature. To think that, at 22, she left an extensive catalogue of over 800 photographs behind is admirable.

For decades, photography was still thought to fall below painting in the hierarchy of mediums in art. It wasn’t accepted as fine art until the 1940s in the United States and the 1960s worldwide. But especially for women artists, it was an important medium because it granted a mode that was relatively free from the heavy, male-dominated history of the painted canvas.

There’s an anecdote that Woodman was asked by a friend, why she obsessively photographed herself. Her friend may have found it oddly narcissistic and simply still unusual. Because we mustn’t forget that Woodman created all of these self-portraits in the mid and late seventies – so long before the selfie developed as a medium of self-reflection and self-representation. Woodman replied, simply saying:

I am always available.

Woodman exclusively used herself as a model, which made me think of other female photographers, especially of another American photographer and filmmaker: Cindy Sherman. Sherman’s work consists primarily of photographic self-portraits, in many different settings, with wigs, make-up, and props to create various imagined female characters. Another famous self-portraitist is Vivian Maier, considered the queen of street photography, who created many iconic pictures of her reflection in shop windows. There are many more of course, like Diane Arbus (1923 – 1971) who focused on an exceptionally singular demographic – the marginalized. She captured the images of dwarfs, giants, transgender people, nudists, circus performers, and many other surreal personas that captured her attention. She is often considered the Sylvia Plath (1932–1963) of photography because of her work as well as her early suicide.

 

© Diane Arbus, Untitled 1970-71
© Vivian Maier, Self-Portrait, 1954
© Vivian Maier, Untitled, undated

The British art historian, Frances Borzello, who specializes in the social history of art, wrote a book on female self-portraits and female nudes. It is titled Seeing Ourselves: Women’s Self Portraits. I found it most relevant, that she notes: The singular importance of this particular genre, the self-portrait is for women a “way to present a story about herself for public consumption,” a rare break from the typical objectification of the female form as depicted by the male artist.

 

Eating the darkness songwriting inspiration Francesca Woodman peeling wallpaper fireplace empty room abandoned house self-portrait
© Francesca Woodman, House #4 1976
Eating the darkness songwriting inspiration Francesca Woodman polka dot dress peeling wallpaper floorboards empty room abandoned house self-portrait
© Francesca Woodman, Polka Dots 1976
Eating the darkness songwriting inspiration Francesca Woodman body print black shoes woman floorboards empty room abandoned house self-portrait
© Francesca Woodman, Untitled 1976

Eating the Darkness. Desolate & Abandoned Interiors

What strikes me most is the textural quality of the settings, in which Woodman stages her photographs. Frequently, the interiors are empty, decaying rooms, with peeling wallpaper, cracked plaster, broken floorboards, and flaking paintwork. In their roughness, they are diametrically opposed to the smoothness of her young and flawless body. On the other hand, in many of her photographs, she seems to merge with her environment, which gives them a haunting quality.

The photographer, Victoria O’Rourke had similar thoughts about Woodman’s integration and depiction of wallpaper:

 

The wallpaper also puts the identity of Woodman in a state of flux in two ways – by physically hiding her and by forcing into your mind the very literal and paradigmatic image of a second skin. It joins neatly with the idea of a shifting identity, rather than Woodman presenting herself as a whole. She transforms before us, not into another human being or character, but simply into the wall. ~ Victoria O’Rourke, photographer

 

Eating the darkness songwriting inspiration Francesca Woodman peeling wallpaper floorboards empty room abandoned house woman self-portrait
© Francesca Woodman, 1976

These rooms look desolate and possess a strong notion of abandonment. They are very similar to the atmosphere of space I wanted to create in my song without using lengthy descriptions.

 

Wandering rooms like in quarantine

I’m starring at the clock, on elasticated time

brain waves flickering, mercury mind

like a black’n white TV in 1969

 

Losing my mind, losing my mind…

“Losing my mind…” maybe we are all afraid of that sometimes, which is exactly why I had distanced myself from the artist after the initial encounter. I had peeped in but knew I had to protect myself and very quickly slam the book shut again. After learning about her suicide, it was painful to see her pale and vulnerable body in contrast with the diminishing interior. Moreover, it was a fearless easiness and eagerness; revealing a form of self-exploration, that stood out against the derelict environment.

But another sensation that arose much later was gratitude. Suddenly, I felt fortunate that I had connected with this picture – and ultimately, with another creative force through my own art. The connection wasn’t formed through a biographical prism – or even the dramatic notion of an artist’s suicide. Because it can sometimes be difficult to push past layers of fragmented knowledge and prejudice, a sense of sensationalism even… especially in an era of information overload, or fake news, and constant accessibility per Dr. Google.

 

Only when “absorbing” art in an almost meditative state, is it possible to retrieve what lies beneath these layers and connect with our own authentic thoughts and feelings. – Frances Livings

This is exactly what I feel she did in her work. She tried to expose herself and be literally, as naked as possible. We will never know whether this specific image, the wallpaper was created to express a loss of self-worth. That may have been what I personally projected onto it. I am grateful that a fellow artist gave me something to connect with, almost like a piece of her soul. Because isn’t that what every person who creates seeks to achieve? We want to touch or inspire someone and almost live on through our work. Francesca Woodman definitely hasn’t faded into the wallpaper. And I am fighting not to either…

 

Thank you for reading!

You are welcome to share any thoughts in the comment box below.

– Frances Livings

 

Buy your copy of Eating The Darkness here:

 

If you found joy or inspiration in this post  

 

Watch The Documentary The Woodmans here: