Frances Livings, Ipanema Lounge ~ Repertoire ~ French Chansons

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I have always had a very strong affinity towards the French culture – and I am not only referring to the delicious food. I was thrilled to start learning French at middle school and very excited about being able to count to ten after a couple of lessons. My emotional bond with French music developed later in junior art college, where I had a very Francophile teacher. He spent all of his holidays in France and often came to class wearing the typical black beret. So often, instead of bending our heads over books, like the children’s (and adult’s) classic Le Petit Prince by Antoine de Saint-Exupéry we were supposed to be reading at the time, he would bring his acoustic guitar and we pour our hearts into singing French chansons.

Apart from loving to sing I always felt that these songs were very special, very pensive and always very poetic. One of my favourite lines was from the song Ma Solitude by Georges Moustaki. I thought it was just so beautifully depressing and at the same time a clever play with words: “Non, je ne suis jamais seul / Avec ma solitude” (No, I am never alone / with my loneliness).

Years later, my mother’s second husband bought and renovated an old French farmhouse in Perigord, the southwest of France and I was very lucky to be able to spend so much time there before he sadly passed away unexpectedly. The property stood slightly elevated on a small mound and was surrounded by a beautiful soft and green, hilly landscape. It was a whitewashed house with a huge, heavy oak barn door and Bordeaux-red window shutters. A low, irregular, old mossy stone wall, next to which luscious bushes of red roses and lavender grew semi-enclosed it. There was no telephone, internet or TV. It was perfect for either relaxing or being creative. I wrote and sang a lot and sometimes listened to the radio that was always very inspiring because of the large amount of French songs they played.

While searching for material and writing my own songs to continuously grow my repertoire, these songs have always been in the back of my mind. It wasn’t until compiling the music for my multi-lingual Ipanema Lounge project, and playing some regular gigs at some of L.A.’s best French restaurants, The Little Door, and Le Petit Paris, that they resurfaced and I started learning some of them, gradually adding more and more. So after a friend of mine asked me for the lyrics of the ones I had been singing live, I thought I would just upload them here for anyone who is interested. I have uploaded the following medley and added our recording of the songs with some background information.

Jardin d’Hiver

Years ago, a friend of mine compiled these lovely mixed tapes for me. It included very cute and amusing song Jardin d’Hiver, written by the French-Israeli songwriter Keren Ann. The most well-known recording, and the one I listened to over and over again from that tape, is by Henri Salvador, who, originally born in Guyana, was an institution in France from the 1930s until his death in 2008. This song is taken from his 2000 comeback album, Chambre Avec Vue, which he made at the ripe age of 83!

Feel-wise our recording of this song borrows from the Beguine and the Cha Cha Cha. The tempo is 126 bpm and the backing track is various percussion, nylon guitar, double bass, bandonéon, synthesizer string pads and piano.

 

 

Jardin d’Hiver

Je voudrais du soleil vert
Des dentelles et des théières
Des photos de bord de mer
Dans mon jardin d’hiver

Je voudrais de la lumière
Comme en Nouvelle-Angleterre
Je veux changer d’atmosphère
Dans mon jardin d’hiver

Ma robe à fleurs sous la pluie de novembre
Tes mains qui courent, je n’en peux plus de t’attendre
Les années passent, qu’il est loin l’âge tendre
Nul ne peut nous entendre

Je voudrais du Fred Astaire
Revoir un Latécoère
Je voudrais toujours te plaire
Dans mon jardin d’hiver

Je veux déjeuner par terre
Comme au long des golfes clairs
T’embrasser les yeux ouverts
Dans mon jardin d’hiver

Ma robe à fleurs sous la pluie de novembre
Tes mains qui courent, je n’en peux plus de t’attendre
Les années passent, qu’il est loin l’âge tendre
Nul ne peut nous entendre

 

Pour te Plaire

The song Pour Te Plaire was written in French by Maxime Le Forestier and was first released by the chanson singer Julien Clerc in 2003. It was adapted from the famous American jazz standard That’s All (Bob Haymes, Alan Brandt), written in 1952 and made popular by Nat King Cole.

Our recording of the song features three of Los Angeles most wonderful studio musicians: Greg Porée on guitar, Trey Henry on upright bass and Jeff Colella on piano – wait until you hear that short and sensitive, most romantic solo. Remember, this is a serious love song… Also, when we did the premix I wanted the song to have a special guitar sound. I was inspired by Jeff Buckley’s recording of Hallelujah and Paul Simon’s use of very atmospherical, spherical sounding electric guitars. The sound credit here goes out to Greg Porée and Nolan Shaheed.

Pour Te Plaire

Je te donne seulement l’amour pour la vie entière,
La promesse de me trouver à tes genoux,
Aussitôt que tu m’appelles,
Rester toujours fidèle,
C’est tout. C’est tout.

Je te donne tous mes printemps, mes étés de mer,
mes automnes quand les feuilles tombent partout.
Si ce n’est pas une bonne affaire,
Je te donne tous mes hivers,
C’est tout, C’est tout.

De ces choses qu’on t’a dites pour te plaire
Ces promesses avancent pour séduire
Il y en a-t-il de meilleur que l’on puisse faire,
un amour que rien ne peut détruire.

Si tu veux savoir quoi me donner pour ma peine
Rassures-toi je ne veux presque rien du tout
Que toujours et plus encore,
Je soit la seule que tu adores,
C’est tout, c’est tout.

De ces choses qu’on t’a dites pour te plaire,
ces promesses avancent pour séduire
il y en a-t-il de meilleur que l’on puisse faire
un amour que rien ne peut détruire

Si tu veux savoir quoi me donner pour ma peine,
Rassures-toi je ne veux presque rien du tout
Que toujours et plus encore,
Je sois la seule que tu adores,
C’est tout, c’est tout.

Que toujours et plus encore,
Je sois la seule que tu adores,
C’est tout, c’est tout.

 

Ne Me Quitte Pas

“Ne Me Quitte Pas” (English: “Don’t Leave Me”) was written and recorded in 1959 by the Belgian chansonnier Jacques Brel. Considered by some as Brel’s ultimate classic, it has since then been translated into over 20 different languages. Brel wrote the song after his mistress “Zizou” (Suzanne Gabriello) ended the affair. Zizou was pregnant with Brel’s child but Brel refused to acknowledge it as his own which resulted in her having an abortion.

The lyrics “Moi, je t’offrirai des perles de pluie venues de pays où il ne pleut pas” (“I’ll offer you rain pearls from lands where it does not rain”) are sung to a theme borrowed from the second part, Lassan (Andante), of the Hungarian Rhapsody No. 6 by the composer Franz Liszt. We haven’t recorded this song yet but play it live as a Tango, which lifts the slightly triste and melodramatic atmosphere of the song. The French film “Le Chambre Bleue” (2014) deals with the topic of love in a similar way. Its female protagonist reminded me very much of the obsessive character (Brel) of this song. Sting’s hit song “Every Breath You Take” also deals with obsession to the extent of stalking someone (“I’ll be watching you…”). Sting’s lyrics however, are void of any romantic or poetic promises. Unlike Brel who makes offerings or maybe bribes like rain made of pearls or light and gold to cover her body; he will be king, she will be queen in a world ruled with love…

Ne Me Quitte Pas

Ne me quitte pas
Il faut oublier
Tout peut s’oublier
Qui s’enfuit déjà
Oublier le temps
Des malentendus –
et le temps perdu
A savoir comment
Oublier ces heures
Qui tuaient parfois
A coups de pourquoi
Le cœur du bonheur

Ne me quitte pas
Ne me quitte pas
Ne me quitte pas

Moi je t’offrirai
Des perles de pluie
Venues de pays
Où – il ne pleut pas
Je creuserai la terre
Jusqu’après ma mort
Pour couvrir ton corps
D’or et de (la) lumière
Je ferai un domaine
Où l’amour sera roi
Où l’amour sera loi
Où tu seras reine

Ne me quitte pas
Ne me quitte pas
Ne me quitte pas
Ne me quitte pas !

Ne me quitte pas
Je t’inventerai
Des mots insensés
Que tu comprendras
Je te parlerai
De ces amants là
Qui ont vu deux fois
Leurs coeurs s’embraser
Je te racont’rai
L’histoire de ce roi
Mort de n’avoir pas
Pu te rencontrer

Ne me quitte pas
Ne me quitte pas
Ne me quitte pas
Ne me quitte pas

On a vu souvent
Rejaillir le feu
De l’ancien volcan
Qu’on croyait trop vieux
Il est paraît-il
Des terres brûlées
Donnant plus de blé
Qu’un meilleur Avril
Et quand vient le soir
Pour qu’un ciel flamboie
Le rouge et le noir
Ne s’épousent-ils pas?

Ne me quitte pas
Ne me quitte pas
Ne me quitte pas
Ne me quitte pas

Ne me quitte pas
Je ne vais plus pleurer
Je ne vais plus parler
Je me cacherai là
A te regarder
Danser, danser!
Et à t’écouter
Chanter et puis rire
Laisse-moi devenir
L’ombre de ton ombre
L’ombre de ta main
L’ombre de ton chien

Ne me quitte pas
Ne me quitte pas
Ne me quitte pas

Ne me quitte pas !

 

Dansez Maintenant

This song was originally composed by Glen Miller as the theme for his orchestra and is usually known with English lyrics as “Moonlight Serenade”. We have recorded it as a swung-ballad with French lyrics. The track is very true to how it would have been performed in the 1940’s. The tempo is 90 BPM and is backed by electric piano, double bass, electric guitar and a brush snare. The vocal is still a “scratch vocal”, so a guide line for the musicians.

Dansez Maintenant

Dansez maintenant,
tout l’été les pieds nus dans le sable
Dansez maintenant
Et jetez vos ennuis dans les vagues
Qui dansent, balancent, au gré du vent sale

Dansez maintenant
Tout l’été aimez-vous sur le sable
Dansez maintenant
Tout l’été vous serez des cigales
Qui dansent, balancent, au gré du vent léger

Quand l’hiver sera venu vous
prendre au dépourvu
Vous danserez main dans la main
En attendant l’été prochain

Dansez maintenant
Tout l’été aimez-vous sur le sable
Dansez maintenant
Tout l’été vous serez des cigales
Qui dansent, balancent, au gré du vent léger

Quand l’hiver sera venu vous
prendre au dépourvu
Vous danserez main dans la main
En attendant l’été prochain

Dansez maintenant
Tout l’été les pieds nus dans le sable
Dansez maintenant
Et jetez vos ennuis dans les vagues
Qui dansent, balancent, au gré du vent salé

 

Caravane

Caravan (Caravane) is a jazz standard composed by Juan Tizol and Duke Ellington, and was first performed by Ellington in 1936. Irving Mills wrote lyrics that were however, seldomly performed. It is more known as an instrumental. Its exotic sound interested musicians; Martin Denny, Arthur Lyman, and Gordon Jenkins all covered it.

The French lyrics were written by the chansonier Philippe Elan and first recorded in 2007 by Laura Fygi.

Woody Allen used the song in two of his films, Alice and Sweet and Lowdown. The song is also heavily featured in the 2014 film Whiplash as an important plot element. The Mills Brothers recorded an a cappella version, making the instruments’ sounds with their voices, and Johnny Mathis recorded the song in 1956. There are more than 350 recordings of this song by Duke Ellington’s orchestra, the great majority of them now in the public domain.

Caravane

Nuit – s’aimer d’étoiles
Qui pris si fort
Le mystère de reflet d’or
Aimer de notre caravane

D’or – sur mon épaule
Tout en rampon
Dans le vent le sable mouvant
Souvenir de notre caravane

Tout semble possible
Tu es irrésistible
Blotti dans mes bras
Je subi
Ton mystérieux charme

Oh, toi,
Si près de moi,
Sous le ciel roi
Mon rêve se réalisera
Au cœur de notre caravane

 

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