“A la Vida” / “Here’s to Life”: canción distintiva de Shirley Horn

Loving elderly Black couple

A la Vida (letras: Phyllis Molinary / música: Artie Butler)
[canción distintiva de Shirley Horn (1934-2005)]
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No tengo quejas ni arrepentimientos.
Aún creo en perseguir los sueños y hacer las apuestas.
Pero yo he aprendido ésto:
lo que tú das es todo que recibirás
– entonces dála una mejor vuelta en esta vida.
.
He tenido mi porción y he bebido más que bastante.
Y aunque estoy satisfecha, aún así tengo hambre de
ver lo que hay más adelante, más allá de la cresta de la colina
y hacerlo todo – de nuevo.
.
Pues, ¡a la Vida! y a todo el júbilo que nos jala.
Pues, ¡a la Vida! –– por los visionarios y sus sueños.
.
Raro es como vuela el Tiempo,
como el amor cambiará de hola acogedora hacia adiós triste;
como el amor te deja con los recuerdos que ya has memorizado
– para mantenerte caliente durante esos inviernos.
.
Mira, no hay “sí” en “ayer”,
¿Y quién comprende lo que lleve la mañana
– o lo que la mañana requise?
Pero siempre y cuando yo sea parte del juego pues quiero jugarlo
– por las risas, por la vida, y por el amor.
.
Entonces…¡a la Vida! y a todo el gozo que nos jala.
Sí, ¡a la Vida! –– por los soñadores y sus visiones.
Que soportares las tormentas, y
que mejorare todo lo que ya es bueno.
A la Vida… al Amor…
y…¡a ti!

. . .
Here’s to Life (lyrics by Phyllis Molinary / music by Artie Butler)
[as sung by Shirley Horn (1934-2005)]
.
No complaints and no regrets,
I still believe in chasing dreams and placing bets.
But I have learned that all you give is all you get;
So give it all you got.
.
I had my share, I drank my fill; and even though
I’m satisfied––I’m hungry still
To see what’s down another road, beyond the hill––
And do it all again.
.
So here’s to Life and all the joy it brings.
Here’s to Life––for dreamers and their dreams.
.
Funny how the time just flies,
How love can go from warm hellos to sad goodbyes,
And leave you with the memories you’ve memorized
To keep your winters warm.
For there’s no ‘yes’ in yesterday; and who knows what tomorrow brings or takes away? As long as I’m still in the game I want to play
For laughs, for life, for love.
.
So here’s to Life and every joy it brings.
Here’s to Life––for dreamers and their dreams.
.
May all your storms be weathered,
And may all that’s good get better.
Here’s to life, here’s to love, here’s to you.
.
May all your storms be weathered,
And may all that’s good get better.
Here’s to life, here’s to love, here’s to you!
. . .

Interpretación por Shirley Horn:

https://youtu.be/UTv3TONfTTQ

. . . . .


“Les Feuilles Mortes” (Kosma/Prévert, 1945): les paroles originales traduites en anglais

Feuilles mortes_Toronto en octobre de 2015

Dead Leaves
(music/lyrics by Joseph Kosma/Jacques Prévert, 1945)
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Oh, I’d like so much that you might remember
those happy days when we were friends…
Wasn’t life back then so beautiful?
And didn’t the sun burn more strong than today?
Dead leaves now gather themselves into the shovel
– don’t you see, I haven’t forgotten!
Dead leaves gather all around our wet kisses
– yes, memories and regrets as well.
And the north wind carries them off
into the cold night of oblivion…
You know: I haven’t forgotten
that song you used to sing for me.
.
It’s a song that’s a lot like you and me
– you who loved me, and I who loved you.
And we were living – the two of us – together
– you loving me, and I you.
But this life separates those who love,
softly, with not a hint of noise
– just as the sea erases the footprints
of lovers divided.
.
Dead leaves now gather themselves into the shovel
– mementos and remorse as well.
But my love, quiet and true,
smiles, always, and gives thanks to this life.
Oh, how I loved you! And you were so pretty!
How can you wish that I should forget you?
Life back then was so beautiful,
and the sun scorched – much more than today.
You were my only, my sweetest girl
– and I have no time for regrets.
And that song you used to sing for me,
well – always it’s ringing in my ears!
Feuilles d'octobre_Toronto_19.10.2015
Les Feuilles Mortes (1945)
(musique/paroles: Joseph Kosma / Jacques Prévert)
.
Oh! je voudrais tant que tu te souviennes
Des jours heureux où nous étions amis.
En ce temps-là la vie était plus belle,
Et le soleil plus brûlant qu’aujourd’hui.
Les feuilles mortes se ramassent à la pelle
Tu vois, je n’ai pas oublié…
Les feuilles mortes se ramassent à la pelle,
Les souvenirs et les regrets aussi.
Et le vent du nord les emporte
Dans la nuit froide de l’oubli.
Tu vois, je n’ai pas oublié
La chanson que tu me chantais.
.
C’est une chanson qui nous ressemble,
Toi, tu m’aimais et je t’aimais.
Et nous vivions tous deux ensemble,
Toi qui m’aimais, moi qui t’aimais.
Mais la vie sépare ceux qui s’aiment
Tout doucement, sans faire de bruit.
Et la mer efface sur le sable
Les pas des amants désunis.
.
Les feuilles mortes se ramassent à la pelle,
Les souvenirs et les regrets aussi.
Mais mon amour silencieux et fidèle,
Sourit toujours et remercie la vie.
Je t’aimais tant, tu étais si jolie,
Comment veux-tu que je t’oublie?
En ce temps-là, la vie était plus belle
Et le soleil plus brûlant qu’aujourd’hui.
Tu étais ma plus douce amie
Mais je n’ai que faire des regrets.
Et la chanson que tu chantais
Toujours, toujours je l’entendrai!

. . . . .


Ralph Carmichael: “Un lugar tranquilo” / “A Quiet Place”

ZP_Ralph Carmichael_A Quiet Place_ sheet music

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Ralph Carmichael (Compositor góspel, nacido 1927)

Un lugar tranquilo”

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Hay un lugar tranquilo

lejos del paso raudo

donde Dios puede calmar mi mente afligida.

Guardado por árbol y flor,

está allí que dejo atrás mis penas

durante la hora quieta con Él.

.

En un jardín pequeño

o alta montaña,

Encuentro allí

una nueva fortaleza

y mucho ánimo.

.

Y luego salgo de ese lugar sereno

bien listo para enfrentar un nuevo día

con amor por toda la raza humana.

.     .     .

Ralph Carmichael es un compositor de canciones ‘pop’ / cristianas contemporáneas.

Su canción “A Quiet Place” (“Un lugar tranquilo”) fue adaptada por un cantautor góspel estadounidense, Mervyn Warren, con su grupo “a capela” cristiano, Take 6, organizado en la Universidad Adventista Oakwood, de Huntsville, Alabama, EE.UU., durante los años 80. El arreglo musical de Señor Warren – hecho para seis voces en 1988 – es exquisitamente dulce y sensitivo.  Éste no es el sonido tradicional de la música góspel, sino algo afinado y jazzístico.

Escuche la canción (versión original en inglés) en este videoclip del Festival de Jazz de Vitoria-Gasteiz (País Vasco, 1997):

http://www.youtube.com/watch?v=SH2orpg6ww4

 

 

.     .     .

 

Ralph Carmichael (born 1927)

A Quiet Place” (1969)

.

There is a quiet place

far from the rapid pace

where God can soothe my troubled mind.

.

Sheltered by tree and flower

there in my quiet hour with Him

my cares are left behind.

.

Whether a garden small

or on a mountain tall

new strength and courage there I find.

.

And then from that quiet place

I go prepared to face a new day

with love for all mankind.

 

 

.     .     .

Ralph Carmichael is a composer and arranger of both pop music and contemporary Christian songs.

From 1962 to 1964 he arranged music for Nat King Cole, including Cole’s final hit, “L-O-V-E”.

A Quiet Place” dates from 1969. 

Mervyn Warren and Claude McKnight arranged a number of Christian songs – both traditional and “new” – for their six-part-harmony “barbershop”-style Gospel vocal sextet, Take 6.

Take 6 was formed at the Seventh-Day-Adventist college, Oakwood University, in Huntsville, Alabama in the early 1980s.

Mervyn Warren – most especially – is responsible for the exquisitely tender or playful harmonies that characterize Take 6’s unique sound.  His 1988 arrangement of  A Quiet Place” is a good example of his genius as arranger.   Astonishingly, Warren’s magnificent arrangements were never published or transcribed – all members learned their harmonies “in the moment” – through many hours of vocal jamming and experiment.  Warren later left the group because the revelation of his homosexuality put him at cross-purposes with the Seventh-Day-Adventist credo.

Listen to Take 6 perform “A Quiet Place” (Mervyn Warren’s arrangement) on the following YouTube clip from a 1997 concert in Spain at the Festival de Jazz de Vitoria Gasteiz – their unusual Gospel sound is belovéd of Jazz aficionados, too!

http://www.youtube.com/watch?v=SH2orpg6ww4

.     .     .     .     .


Gregory Porter: “Somos pintados sobre un lienzo ” / “Painted on canvases”

ZP_Romare Bearden 1911 - 1988_Morning of the Rooster_1980ZP_Romare Bearden (1911-1988)_Morning of the Rooster_1980

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Gregory Porter (Cantante/compositor de jazz, nacido en 1971, EE.UU.)

Somos pintados sobre un lienzo

.

Somos como niños

Somos pintados sobre un lienzo

logrando los tonos mientras pasamos

Empezamos con el “gesso”

puesto con pinteles por la gente que conocemos

Sea esmerado con la técnica mientras avanza

Se aleja para admirar mi vista

¿Puedo usar los colores que yo elijo?

¿Tengo algo que decir sobre lo que usted usa?

¿Puedo conseguir colores verde y colores azul?

.

Somos hechos del pigmento de pintura que se aplica

Nuestras historias son dichos por nuestros tonos

Como Motley y Bearden

Estos maestros de la paz, de la vida,

Hay capas de colores, del tiempo

Se aleja para admirar mi vista

¿Puedo usar los colores que yo elijo?

¿Tengo algo que decir sobre lo que usted usa?

¿Puedo conseguir unos verde y unos azul?

.

Somos como niños

Somos pintados sobre una gama de lienzos…

 

ZP_Archibald John Motley 1891-1981_Self Portrait_1933ZP_Archibald John Motley (1891-1981)_Self Portrait_1933

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Gregory Porter (born 1971, American jazz vocalist/songwriter)

Painted on canvases”

.

We are like children
we’re painted on canvases
picking up shades as we go
We start off with “gesso”
brushed on by people we know
Watch your technique as you go
Step back and admire my view
Can I use the colours I choose?
Do I have some say what you use?
Can I get some greens and some blues?

.

We’re made by the pigment of paint that is put upon
Our stories are told by our hues
Like Motley and Bearden
these masters of peace and life
layers of colours and time
Step back and admire my view
Can I use the colours I choose?
Do I have some say what you use?
Can I get some greens and some blues?

.
We are like children
We’re painted on canvases…

.     .     .     .     .


Maria Bethânia canta letras de Carlos Bahr & Adriana Calcanhotto / Maria Bethânia sings lyrics by Carlos Bahr & Adriana Calcanhotto

ZP_Maria Bethania_1967ZP_Maria Bethânia (born 1946), shown here at the age of 21, is a Brazilian singer and sister of Caetano Veloso

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Sin” / “Pecado
Composer / Compositor:  Carlos Bahr (Tango lyricist / Letrista de tango, 1902-1984, Buenos Aires, Argentina), with / con: Armando Pontier & Enrique Francini

As sung by / Cantada por:  Maria Bethânia (from her album / de su álbum Pássaro Proibido, 1976)

.

I know not

whether this is forbidden;

if there’ll be forgiveness;

or if I’ll be carried to the brink of the abyss.

All that I know:

This is Love.

.

I know not

whether this Love is a sin;

if punishment awaits;

or if it disrespects all the decent laws

of humankind and of God.

.

All that I know:  it’s a Love which stuns my Life

like a whirlwind;   and

that I crawl, yes crawl, straight to your arms

in a blind passion.

.

And This is stronger than I am, than my Life,

my beliefs, my sense of duty.

It’s even stronger within me than

the fear of God.

.

Though it may be sin – how I want you,

yes, I want you all the same.

And even if everyone denies me that right,

I will seize hold of this Love.

 

.     .     .

 

Yo no sé
Si es prohibido
Si no tiene perdón
Si me lleva al abismo
Sólo se que es amor
.
Yo no sé
Si este amor es pecado
Si tiene castigo
Si es faltar a las leyes honradas
Del hombre y de Dios
.
Sólo sé que me aturde la vida
Como un torbellino
Que me arrastra y me arrastra a tus brazos
En ciega pasión
.
Es más fuerte que yo que mi vida
Mi credo y mi sino
Es más fuerte que todo el respeto
Y el temor a Dios
.
Aunque sea pecado te quiero
Te quiero lo mismo
Aunque todo me niegue el derecho
Me aferro a este amor.

.     .     .

 

After having you” / “Depois de ter você ”

Composer / Composição:  Adriana Calcanhotto (born in / nascida em 1965, Porto Alegre, Brasil)

As sung by / Cantada por:   Maria Bethânia (from her album / em seu álbum Maricotinha, 2001)

.

After having you,

What reason is there to think of time,

how many hours have passed or remain?

If it’s night or if it’s warm out,

If we’re in summertime;

If the sun will show its face or not?

Or even what reason might a song like this serve?

After knowing you

Poets? what’s the use of them?

Or of Gods – What purpose Doubts?

Almond trees along the streets,

even the very streets themselves –

After having had You?

.     .     .

 

Depois de ter você,
Para que querer saber que horas são?
Se é noite ou faz calor,
Se estamos no verão,
Se o sol virá ou não,
Ou pra que é que serve uma canção como essa?
Depois de ter você, poetas para quê?
Os deuses, as dúvidas,
Para que amendoeiras pelas ruas?
Para que servem as ruas?
Depois de ter você.

 

 
.     .     .

Traducción/interpretación en inglés / Translation-interpretation from Spanish into English:   Alexander Best

Tradução/interpretação em inglês / Translation-interpretation from Portuguese into English:  Alexander Best

.     .     .

ZP_Maria Bethania_2010ZP_Maria Bethânia in 2010

.     .     .     .     .


Benito de Jesús’ “Nuestro Juramento” (“Our Oath”) as sung by Julio Jaramillo

ZP_A vintage Valentine's Day card

ZP_A vintage Valentine’s Day postcard_1930s?_Note the absence of cutesy sentimentality or smarmy earnestness. Depicted are The Wiles, The Game, of Love.

Anyone hearing the 1957 recording of “Our Oath” (“Nuestro Juramento”) by 22-year-old Julio Jaramillo – later known as “The Nightingale of The Americas” for his sweet high tenor – perhaps will be surprised to learn – once the words have been translated from Spanish into English – how extravagantly Romantic are the lyrics of the song.  Benito de Jesús’ lyrics emphasize Death and Love together, and it’s easy to forget that the word Romantic (with a capital R) used to include both – though the saccharine cuteness of Valentine’s Day – with its boxes of chocolates and bouquets of a dozen red roses – has diluted in the public sphere the irrational intensity of that many-limbed emotion, Love.  In fact, there is nothing more Romantic than the death of the belovéd.  de Jesús’ outlandish – by contemporary standards – and absolutely un-ironic – verses, combined with the delicacy and sincerity of Jaramillo’s voice, make for a curiously disquieting yet moving popular love song.

.     .     .

Benito de Jesús (1912 – 2010, Puerto-Rican composer)

Our Oath (“Nuestro Juramento”)

as sung by Julio Jaramillo (1935 – 1978, Guayaquil, Equador)

Translation/Interpretation from Spanish:  Alexander Best

.

Our Oath”

.

Your sorrowful face

I just cannot look upon

– because it kills me.

.

Sweet darling,

the weeping that

from you spills forth,

with anguish fills my heart.

.

Wordlessly I suffer if sad you fall,

I wish that no doubt might

make you cry at all.

We have vowed to love each other

until the day we die…

And if the dead may love?

– well, after our death we’ll love each other

all the more, oh my!

.

If I die first, promise to let a weeping

that sprouts from sorrow

pour down upon my body dead,

so that your love for me

by everyone present will be read.

.

If you should die first, I promise to write

the story of our love,

full of feeling in my soul.

Yes, I shall write our story in blood

– the ink-blood of my heart –

so that our tale of love is told!

ZP_Julio Jaramillo in the 1950s

ZP_Julio Jaramillo in the 1950s

Después de su grabación en 1957, el bolero “Nuestro Juramento”, del compositor puertoriqueño Benito de Jesús, se convertió en icono de la música ecuatoriana.  ¿Y por qué?  A causa del tenor dulce de un cantante nacido en Guayaquil – Julio Jaramillo.  En esta canción extravagante de Amor, Jaramillo – conocido más tarde como El Ruiseñor de América – canta con mucha ternura el tema, y la letra habla de una emoción fuerte que traspasa los límites de la vida.  Merece la pena recordar en este Día de San Valentín que no es siempre precioso y meloso el Amor (como chocolates y ramos de rosas).  El Amor incluye la eventualidad de un gran Hecho amenazador en el horizante – la Muerte.

.     .     .

Benito de Jesús (1912 – 2010, compositor puertoriqueño)

Nuestro Juramento”

cantado por Julio Jaramillo (1935 – 1978, Guayaquil, Equador)

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No puedo verte triste porque me mata
tu carita de pena, mi dulce amor.
Me duele tanto el llanto que tu derramas,
que se llena de angustia mi corazón.
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Yo sufro lo indecible si tu entristeces,
no quiero que la duda te haga llorar.
Hemos jurado amarnos hasta la muerte
y si los muertos aman,
después de muertos amarnos más.
.
Si yo muero primero, es tu promesa,
sobre de mi cadaver dejar caer
todo el llanto que brote de tu tristeza
y que todos se enteren de tu querer.
.
Si tú mueres primero, yo te prometo,
escribiré la historia de nuestro amor
con toda el alma llena de sentimiento.
La escribiré con sangre,
con tinta sangre del corazón.

.     .     .     .     .


Lupicínio Rodrigues: “Volta” / “Come back to me”

 

“Volta” 

(Letras/música:  Lupicínio Rodrigues, compositor brasileiro, 1914-1974:

canção cantada por Gal Costa, 1973)

.

Quantas noites não durmo

A rolar-me na cama

A sentir tantas coisas

Que a gente não pode explicar – quando ama.

.

O calor das cobertas

Não me aquece direito

Não há nada no mundo

Que possa afastar esse frio do meu peito.

.

Volta,

Vem viver outra vez ao meu lado

Não consigo dormir sem teu braço

Pois meu corpo está acostumado.

.

Volta,

Vem viver outra vez ao meu lado

Não consigo dormir sem teu braço

Porque meu coração está acostumado…

.     .     .

“Come back”

(words and music by Lupicínio Rodrigues, Brazilian composer, 1914-1974:

as sung by Brazilian singer Gal Costa, 1973)

.

How often I can’t sleep!

– tossing and turning in bed –

Feeling so many things

That people – who are in love – cannot explain.

.

The heat of the blankets

Doesn’t warm me well

And there’s no-one in this world

Can keep this chill from my breast.

.

Return to me,

Come live again at my side

I can’t keep sleeping without your arms around me

–  well, my body’s grown used to you!

.

Come back,

And live once more by my side

I can’t go on sleeping without your embrace

– and my heart’s accustomed to you now…

.

Translation/interpretation from the Portuguese:   Alexander Best