Pablo-Picasso-Girl-Before-A Mirror-1932-Aganju

Aganjú ~ Music and Spirituality

 

Pablo-Picasso-Girl-Before-A Mirror-1932-Aganju
Pablo Picasso, Girl Before A Mirror, 1932

Aganjú was the last song we worked on yesterday in the studio for my new album Ipanema Lounge. I had actually gone through a bit a of a crisis with it and I think this was our third studio session working on the song. The rhythm section, Sandro Feliciano (percussion) and Isaias Elpes (electric bass), also from Brazil, had created some amazing grooves and my vocal track was in a complementary, nicely contrasting sultry style. But I still thought it was plainly boring and that we didn’t “own” the song.

I was actually close to taking the song off the record.

I first heard the song Aganjú on Bebel Gilberto’s album Tanto Tempo. It was written by the Brazilian musician, songwriter and record producer Carlinhos Brown, whose musical style blends tropicália, reggae, and traditional Brazilian percussion. Later, especially the Latin remix by Thievery Corporation, caught my attention. It expresses my love of a Brazilian and European Nu jazz style that never quite took a foothold in America the way it did in Europe. It was a movement derived from drum & bass that started in the early 1990’s.

Always seeking new material and ideas, I thought Aganjú would be a nice tune to play live, which we still do. Even with a very sparse instrumentation as a trio; with voice, bass and guitar, it works very well as a groovy, atmospheric lounge style song.

When it comes to recording a song that has already been recorded before, you have to make it your own. I absolutely did not want it to sound like a cover version. Or, like Billie Holiday said,

You can’t copy anybody and end with anything. If you copy, it means you’re working without any real feeling. No two people on earth are alike, and it’s got to be that way in music or it isn’t music.

I had already contemplated horn arrangements but thought it would be too costly and time consuming. But then I thought of simply asking one of my favourite saxophone and flute players to add some movement and interest with some horn tracks in a very last recording session. I booked a three hour session, which was supposed to give us enough time for recording horns, an additional vocal track, some last mixes and mastering. I admit, I did wonder whether it was a bit daunting with so little time…

 

A Track with Veteran Jazz Musicians

Robert Kyle, a multi-instrumentalist and composer, who also just released a new album himself, came in to the studio. I was thrilled with my co-producer’s idea of creating some friction and dissonances, which was ultimately the direction in which I had planned on going with the vocals. Robert played and improvised multiple amazing tracks on tenor and soprano saxophone and some beautiful and haunting parts on the alto flute that you will recognize in the intro of the song. I added another vocal track, the mix was done – et voilà! The track became a wonderful conversation between the vocals and the wood winds over a very infectious Nu jazz groove.

 

Listen and download the track here:

This is exactly where not only excellent players, who can sight read and improvise on the spot, but a production team like Greg and Nolan Shaheed are crucial for any record to sound as good as Ipanema Lounge simply does. Nolan, whose studio I have been recording in for years, is a veteran trumpet player who has toured with greats like Stevie Wonder and recorded with many others. You can hear him on two songs of the album too. He played Flügelhorn on One Note Samba and on Sway you can hear his sassy trumpet ad libs that add a flair very reminiscent of Cuban Mambo bands of the 1950’s.

 

Magical Connections

Suddenly, sitting there in the studio, while the end mix was being done, my thoughts started to drift. I think the fact that Nolan is also a world class, medal-winning runner made me think of the current 2016 summer Olympics. They were being held in Rio de Janeiro – the very place the song Aganjú stems from. Athletes, like any performer won’t survive if he or she is not dedicated to their craft by striving for continuous improvement and stamina. It occurred to me that this was occurring at the same time we were recording those last fragments. It all seemed magically connected and suddenly I realized, that’s exactly what the song is about.

Despite the Portuguese lyrics being really hard to translate, the essence of the song and the name “Aganjú” is that of the African deity of volcanoes and deserts, who spreads magic and protection from Brazil, whose religious culture was originally brought to the country by the African slaves. In an interview Bebel Gilberto, said about the phrase:

‘Aganjú’ ‘Aganjú’ is everywhere, in San Francisco, in New York. People get so hypnotized by this song, so maybe that is a good thing, they see the religion in my music.

Music has always had a place in the history and practice of all religions of the world through the meditative use of chant and hymns during liturgical celebrations. In his book, Musicophilia: Tales of Music and the Brain, the British neurologist Oliver Sacks underscores the power of music to console, nourish and even save us from despair. In the song Aganjú this devotion to the saints for protection, good health and a better life is expressed in both the song’s lyrics and in its trance like mood, which was ultimately, what I was looking to reinterpret.

aganjuI suddenly remembered another interesting link. The origins of the Olympic games in ancient Greece were deeply rooted in mythology, and attributed to the gods. The athletes believed their training honoured these gods, and that victory was a sign of favour from a deity.

 

Musical Dedication & Inspiration

I finally felt it was all coming together but not only musically. I was suddenly so aware of the principle of dedication and inspiration, of how deeply connected they are, that one doesn’t exist without the other. Olympians were performing at their highest skill level in Rio de Janeiro, after decades of practice, determination, and sacrifice, in the same way as musicians do at recording sessions or live shows. And during that session, the god Aganjú had seemed to have blessed us with that magical spark that even, when the most virtuous musicians record or play together, can be missing. That magical spark, the essence of spirituality was created for that song, that very link that connects us humans to music and something larger, divinity.

 

DOWNLOAD your copy of Aganjú here

 

Or – if you liked this post, why not simply…

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

 

Saxophonist Zane Musa Songs of the Soul Frances Livings Poet

Songs of the Soul ~ In Memory of Zane Musa (1979 – 2015)

 

Zane Musa – the first time I saw him play was at a small, hole in the wall jazz joint. It was the summer of 2005. I was on one of my first visits to Los Angeles from Germany, where the guitarist Greg Porée and I had met. We had been working together at a small theatre in Hamburg. Drink in hand, we sat down, shortly before the show was to begin. So here we were on a date at this – dump.  Secretly, I was thinking very dismissively,

“What is all of this? This is not a proper city! This is not a proper jazz club! L.A. is so ugly. It’s like a barren, flat and never ending suburb, punctuated every now and then by strip malls, like this thing here…”

But Greg swore, these were really good players.

Whenever I had attended jazz concerts in Germany, the venues in which they were held were mostly historical theatres, lovely outdoor venues, like parks or on the waterfront. They always mirrored the anticipated beauty and specialness of the music. I therefore simply didn’t expect much walking in to that dumpy little bar.

The small stage was only dimly lit. My eyes fell on this lanky, dark haired, good-looking guy. I watched him as he just stood there, swaying almost unnoticeably to the venue’s background music – or to his own? His horn hung around his neck and cupping its bow, he lightly cradled his instrument. He seemed oddly detached and lost, clutching his saxophone.

The Saxophone in Jazz

The saxophone is obviously a staple in jazz music. I personally however, associated the sound of this instrument with the sickly sweet and whiney notes of players like Kenny G. dwindling annoyingly from supermarket and car radios. Having gained most of my listening experiences in the eighties and the nineties, a saxophone was the epitome of elevator jazz. But then the band started and this disinterested seeming guy started hitting his first notes; delving deeper and deeper into the music, spiralling into almost delirious solos – my jaw hit the floor. Zane Musa was the most brilliant, moving saxophonist I had ever heard live.

BANNER_Songs-of-the-Soul-Zane-Musa-without words

After the performance, on the way out, I grabbed some of these square, flimsy paper napkins from the bar and in the car I just dotted down every thought, rushing through my head. In the following weeks the poem Songs of the Soul evolved. I only told my husband that Zane inspired the piece. Nobody else. I was somewhat embarrassed by the impact he had made on me –

I had a musical crush on him.

Once the poem was completed, I felt as if I needed to deepen its intensity. I had only just started a new project recording some of my poetry. Nervously I contemplated asking Zane to play on “his” poem. I wouldn’t tell him of course that it was about him. My goal was to recite the piece and ask him to respond in a duet, as if he was at a live jazz gig, improvising on the spot. I wanted to capture a complete performance –also of my reading– rather than the usual studio procedure of assembling tracks for overdubbing and editing.

The Recording Session of Songs of the Soul

A few weeks later, I arranged a session with Nolan Shaheed at his studio in Pasadena, an environment that has now, over the years, grown into a very “safe” place to record. There I stood, in the vocal booth, Zane opposite to me in another one. We were connected by sight, large earphones and the piece and separated by the thick studio glass of the individual chambers. I didn’t read the poem out to him before we were ready to record. I wanted his reaction to be spontaneous.

So in dialogue with my recital of the poem, Zane played his musical interpretation of Songs of the Soul. The atmosphere was electric and invariably I achieved my concept in only two magical takes. The first recording was wonderful, very soft, sensitive and flowing but the second take had a lot of passion. That was the one we then mixed and mastered. Even in the somewhat disconnected and sterile environment of a recording studio, I experienced Zane as inventive and daring. He would blend Middle Eastern quarter notes with American jazz. I was impressed by his ability of delving into the music like into the depths of an indigo coloured lake that lied within him.

In the Recording Studio again…

A few years later in 2013, I was recording my first solo album, The World I Am Livings In, with eleven of my original songs. I couldn’t resist asking him to play a solo on my song Only Time Will Tell. It’s a very sad piece about fearing your loved-one will one day emotionally leave your once passionate relationship. So I needed some melancholic magic. I booked a session at Nolan’s studio and Zane played a short but very moving solo on soprano saxophone. While he was still in the recording booth, Nolan whispered to me that his older brother, the tap dancer Chance Taylor had only just committed suicide – the day before. Songs-of-the-Soul-Cover-tree-with-lightening-Frances-Livings-Musical-Poetry

My feelings shifted like waves. I went from being very moved by Zane’s playing over incredible empathy for such a loss to total disbelief that he had even showed up for the session. It seemed like too much! How was that possible, despite the pain, the shock and the anguish? At the same time I knew that sometimes that’s the very thing you have to do.

You show up and play, you sing, you write your heart out in order to not collapse. You keep going.

It was such an emotional situation because at the same time, I was also grateful for the fact that sometimes, when playing music, it’s like being handed a piece of that other person’s soul. It’s a very delicate and precious moment and I wanted to thank Zane and give him a piece in return. Greg and Nolan knew it but I had never made it public that Zane had inspired me to write Songs of the Soul.

So ever so slightly bashful, I told him that morning. His head was bent down, his eyes cast to the ground. Slowly, he lifted his gaze and through those tinted glasses he often wore, he looked at me almost with the eyes of a child, his heavy eyelids framed by dark eyelashes, batting slowly two, three times. Everyone who knows Zane will know the look. I will never know to date whether he had sensed this anyway that the poem was basically about him. I didn’t know what he thought at all – he wasn’t exactly an open book when it came to words.

What I do know is that Zane didn’t care about compliments; you couldn’t charm, bribe or seduce him into niceties. He poured himself into his music because he wanted to, rather, had to. So I didn’t judge or ask. But I had wanted to give him something back after he had given me these two heart-wrenching improvisations on his instrument and after the devastating loss of his brother. I wanted to simply say – I care.

That Night When Others Played Their Hearts Out…

And ironically, sadly and magically, that’s exactly what his fellow musicians did for him almost exactly two years later: They played their hearts out, hoping to give Zane back a piece of their souls:

On Monday, February 2nd, 2015 the jazz community received the incomprehensible and devastating news that Zane Musa had passed away. He had been on tour in Florida with the trumpeter Arturo Sandoval who himself had been a protégée of no one less than Dizzy Gilesby. At first the whole incident was perceived as a freak accident. But later we learned that tragically, Zane had taken his own life by jumping from the top of a park deck. He was only 36.

Two weeks later, on Monday, February 16, 2015, we celebrated Zane’s life: Organized by his family and three of his closest friends, the keyboarder Dennis Hamm, the bassist Ryan Cross and the drummer Tony Austin. I was asked if the recording of “Songs of the Soul” could be played and whether I could say a few words about how it developed. Of course I was more than honoured that I could contribute something.

For years, the Sofitel Hotel on Beverly Boulevard has been a slightly more glamorous venue for Monday night jazz sessions that Zane had often attended. Generously, the management once again supplied their venue, this time for Zane’s memorial service.

The large conference room was packed. Some of the guests had to stand in the back. I can only guess that there were at least five hundred people attending. Zane’s sister, his mentors and close friends shared very personal stories. Pictures of him growing up, tap dancing and playing his instrument were shown, and Zane’s peers and close friends played live music. Zane’s brother Chance, an award winning tap dancer was also commemorated. A slide show that Dennis had compiled, with pictures of Zane playing, illustrated Songs of the Soul. It marked the end of the well over three hour memorial. Finally, a brass band led the attendees downstairs to the piano bar. A lively jam session started to take place until closing out at 2 am in the morning.

I don’t want to speculate at this point why Zane ultimately made the decision to end his own life. It seems so much like such a contradiction of his brilliance and success. Moreover, he wasn’t some unpopular nerd, shunned and bullied. His family, friends and peers loved, respected and revered him. Couldn’t he get professional help, one may be temped to ask. But we know of others, whose idea of suicide has risen to loom over them like a black sun. We know of others, whose yearning to cease corporal existence will more often than not, lead them to their final definite act.

Your Elusive Creative Genius

I would rather more like to end this excursion on honouring Zane with someone else’s words. This is an excerpt from a talk in February 2009 by the writer Elizabeth Gilbert on “Your elusive creative genius”:

Centuries ago in the deserts of North Africa, people used to gather for these moonlight dances of sacred dance and music that would go on for hours and hours, until dawn. They were always magnificent, because the dancers were professionals and they were terrific […] But every once in a while, very rarely, something would happen, and one of these performers would actually become transcendent. […] time would stop, and the dancer would sort of step through some kind of portal and he wasn’t doing anything different than he had ever done, 1,000 nights before, but everything would align. And all of a sudden, he would no longer appear to be merely human. He would be lit from within, and lit from below and all lit up on fire with divinity.

[…] And when this happened, back then, people knew it for what it was, you know, they called it by its name. They would put their hands together and they would start to chant, “Allah, Allah, Allah, God, God, God.” That’s God, you know. […] Incomprehensible, there it is — a glimpse of God. Which is great, because we need that.

But, the tricky bit comes the next morning, for the dancer himself, when he wakes up and discovers that it’s Tuesday at 11 a.m., and he’s no longer a glimpse of God. He’s just an aging mortal with really bad knees, and maybe he’s never going to ascend to that height again. And maybe nobody will ever chant God’s name again as he spins, and what is he then to do with the rest of his life? This is hard. This is one of the most painful reconciliations to make in a creative life.

When I first came to Los Angeles –which is now almost ten years ago– the experience of such incredible talent and level of musicianship moved me profoundly. I knew, there was likely no return. To that date, I had only heard on recordings by the very best, the amount of brilliance as I then did and continue to hear live. I felt in awe, and as an artist myself inspired, challenged and frightened. In some way, Zane epitomized a lot of these feelings and conflicts. I have always highly respected his talent, passion and hard work. When he played, he invested everything – including his torment, which was what I saw that very first evening with such intuition I suppose, because it mirrored in a way some of my own. But did I have that courage?

Rest peacefully, Zane.

L. A. Jazz Scene Reels from Untimely Death of Zane Musa, by Tom Meek in LA Weekly, Tuesday, February 3, 2015

Zane Musa Memorial and Celebration of Life, event page with many comments and eulogies on Facebook

An interesting, older article praising the talent of a young Zane Musa appeared in 1996 in The Los Angeles Times: “They’re Young, Gifted and Gigging: Zane Musa, a Name to Remember, Opens New Jazz Talent Series” by Don Heckman in The L.A. Times, April 4, 1996.

 

DOWNLOAD Songs of the Soul here:

 

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Songs of the Soul Frances Livings Musical Poetry Zane Musa Saxophone

Songs of the Soul ~ Musical Poetry and its Inspirations

 

Saxophone player writer tree struck by lightning grey clouds songs of the soul

 

One Sunday, on one of my searches to find a retreat, I paid the Self Realization Center in Los Angeles a visit. I had been working for some days on poetry and needed to relax and quieten my monkey mind. Besides that, I was slightly stuck and needed some inspiration. The Self Realization Center was dedicated in the 1950’s to the Indian Yogi and meditation guru Paramahansa Yogananda. It is an outdoor oasis with a large lake and a shrine that welcomes visitors of all religious denominations.

Tucked away from the famous Sunset Boulevard, the ten-acre site is only a quarter of a mile from the Pacific Ocean. The natural spring-fed lake is home to a variety of flora and fauna. There are swans, ducks and a vast amount of large, colourful Koi fish and trees and flowers from around the world.

Like many landmarks in Los Angeles, its origins can be traced back to the movie industry. Like in the early 1920s, when the famous film studio Inceville shot silent movies on site of the Lake Shrine Temple. A few years later, the real-estate magnate Alphonzo Bell, Sr. bought the land. The surrounding hillsides were hydraulically graded to fill the canyon and make it level for future development. When these activities were stopped short, a large basin was left in the can­yon. It soon filled with water from nearby springs creating Lake Santa Ynez — the only natural spring-fed lake within the city limits of Los Angeles.

The grounds include a Court of Religions honouring the five principal religions of the world. A very special relic, a portion of Mahatma Ghandhi’s ashes, can also be found here. They are entombed in a small stone memorial on the north side of the lake. I could definitely detect a slight whiff of esoteric haughtiness in the air and it was obvious that a lot of money was sunk into the upkeep of the grounds. That said, I highly appreciated that this oasis was open to the general public. Unlike many areas of lush and precious green you see when driving around in Los Angeles – like the Veteran’s park in West L.A., the country clubs in Bel Air or Hancock Park. They are all gated and completely restricted to the members of those elite clubs or organisations.

Songs of the Soul – by Yogananda?

After walking in the gardens, I had a look in the small gift shop. To my surprise, displayed in one of the glass cabinets was a small publication of poems by the founder, Paramahansa Yogananda  titled Songs of the Soul. I lifted it carefully from the case, I flicked through it and learnt, that it had been first published in 1923. Book cover Songs of the Soul

It had exactly the same title as one of the first pieces I had written shortly after moving to Los Angeles in 2005 and that I had been editing. I had no idea that this publication existed. Yogananda had also written most of these approximately 200 short poems during his early years in the United States, which I thought was interesting. But perhaps impressions come more easily to paper when we are in foreign situations. We are then especially vulnerable and therefore receptive for new experiences. Many artists in exile – which is exactly how I experienced Los Angeles – have found comfort and support in expressing their inner emotions in a creative way.

But unlike this book, presented in its showcase, my poem Songs of the Soul was unpublished. Perhaps because I somehow sensed that something was still missing. I just didn’t quite know what. Moved by this coincidence, and surrounded by so much beauty and spirituality, I decided to revisit the piece at home, where I discovered some other interesting similarities.

Religious Experiences in Nature

Yogananda describes in his poems, his deep and religious experiences in nature. Some of them depict his memories of his motherland India and profound impressions new friends and acquaintances had made on him. But most of all, his pieces are of spiritual nature, praising God. My poem, Songs of the Soul isn’t of religious nature at all, and at the very least about worshipping any kind of God. But it is, in a similar way, about encountering a form of deep spirituality – namely in music.

grey sky, dark clouds, tree being struck by lightning songs of the soulThus, I could translate Yogananda’s short foreword, “Love is the song of the soul, singing to God” into the sentiment “Music is the song of the soul, singing to its listener”. Inspiring the first drafts of my poem had been two very intense musical experiences that I had virtually channeled. From very pure and real impressions the piece had basically written itself. But suddenly I felt that words weren’t enough and wanted to make the translation of these experiences more viable.

That is when I decided to make live recordings of three poems; of Songs of the Soul, ‘The Maliciousness of Words’ and ‘During the Hours’ and release them as an EP. To support and interpret the atmosphere of each unique piece, I chose three of Los Angeles’ finest jazz musicians. I had seen and heard them many times and felt that not only their instruments but even their personalities suited each individual poem. You can read about that here in my post, My goal was to capture complete performances, of both the reading and the solo instrument, rather than the usual studio procedure of assembling tracks for endless overdubbing and editing.

 

Finally – In the Studio Recording Songs of the Soul

The recording sessions took place in November 2009 at the studio of Nolan Shaheed in Pasadena. The musicians had not heard or read the poems prior to their studio arrival. I wanted them to respond as if they were at a live jazz gig, improvising on the spot which was exactly where I saw their greatness. Each piece was recorded live, with the individual instrument in dialogue with my recital of the poem: The atmosphere was electric and invariably my concept was achieved within two to three takes.

The Maliciousness of Words is a fun piece which deals with the characteristics and moods of individual words. I chose the jazz pianist Brandon Coleman because of his humour and his ability to convey such easiness which enabled him to fully compliment the poem.

During the Hours, which I also chose as the album title, is an ode to a loved one. It features the violinist Paul Cartwright whose gift in creating lyrical melodies with strong narratives complimented the romantic and scenographic notion of this piece.

Songs of the Soul Zane Musa saxophone for Frances Livings' musical poetryFor Songs of the Soul I found the perfect match in Zane Musa on tenor saxophone. Zane is unique for blending middle Eastern melodies with intricate jazz improvisation. He is an incredible live performer so I was proud that I was able to capture that side of his playing as well.

With my reading and his playing I had finally completed the piece ‘Songs of the Soul’. It mirrors musically, technically and emotionally the highs and lows of musical performance and the conflicts of creative angst I tried to capture.

I realized that during that tranquil Sunday, whilst gazing lazily at Koi fish, I hadn’t been closer to God but perhaps to myself and I was emotionally receptive for what needed to be done.

Listen to the piece and download it here:
Songs of the Soul

Exposed in the idle spotlight
awkward and unfashioned
almost uncongenial
bleak and inhospitable
transparent paper swaying
languidly waiting
lost, but no frustration
life, does it feel alien?

But then you strip down to the bone
start slashing at my flesh
emotions bluntly plundered
and torn out of my chest
as your songs of the soul
impatiently unfold
revealing dark obsessions
that violently evolve

Slave to your instrument
the bridge to each sentiment
the culprit of insanity!
or the medium of lucidity?
A lover lost in rapture
in haunting ecstasy
distilling good and evil
to disturbing melodies

That are darker than the darkest
side of a blood-shot moon
your notes a lake of indigo
spreading through the room

Longer than the longest
Arab caravan
drying my insides
winding through the desert sands

And sweeter than the sweetest
mistresses’ delight
sugar dusted lokum
in the heat of a vibrant night

Oh and softer than the softest
warm summer‘s breeze
ling’ring in the shadows
of ancient Cyprus trees

Steeper than the steepest
spiral stairway
as you climb to higher higher –
and your body folds in labour
bearing sighing melodies

Pain and passion synchronized
comprising unborn, old and wise
Songs of the soul
oh, in torment they are born.

(c) Frances Livings 2011. All Rights Reserved.

Did you enjoy this post? If so, why not…

white coffee cup café au lait chocolate cake
© Frances Livings

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Here are some other artists who have explored “Songs of the Soul” in a variety of ways:

This video shows the two Swiss musicians Adesh (Sitar) and his wife Ajita (Tabla) performing as part of the “Songs of the Soul” concert tour in Zurich. The concert was commemorating the musical legacy of spiritual teacher Sri Chinmoy who inspired thousands of people with his mantric melodies.

Another interesting find is a trailer for the documentary “Sacred Sounds: Music of the World, Songs of the Soul”. It explores the idea of sacred music. It asks, how it is used as a communicator with and in celebration of God? Why is it shared by almost every culture and faith in the world? Through dynamic musical performances, interviews with artists and religious figures, director Carmine Cervi breaks down cultural, political, and religious barriers to bring us to an understanding of faith through music.

More than a dozen artists from Islamic, Christian, and Jewish traditions appear. Noa is a renowned Israeli singer bringing her message of Middle East peace to the Arab world; Sheikh Yassin, an Egyptian singer of religious hymns; Avay-e-Douste, an Iranian female quartet improvising songs in the Radif system; the Aissawas of Fez, a religious brotherhood performing Sufi ceremonial music famous for its trance-inducing ability; and Liz McComb, an American gospel singer who transmits her passion in a performance of intensity and emotion.

Sacred Sounds takes place against the exotic backdrop of Fez, a millennium-old city of twisting alleys and covered bazaars, bright-tile mosques and crumbling palaces. Busy souks, bundle-laden donkeys, and the call to prayer that flows from the city’s pervasive loud speakers contribute to a sensual, mystical experience in Morocco’s centre.

Also, recently this is a groundbreaking documentary on the science of Yoga Meditation and the life of Paramahansa Yogananda, the Indian Swami who came to America from India in 1920 to bring Yoga to the west, was released. This is the trailer to the film: