"In And Out of Love", L. Helpert, 2018 and "Cut the Cord", L. Helpert (2018)
In 2018 I began a project writing 1930-1950's-era inspired traditional-sounding "Ellingtonian" and "Monk"-style jazz with contemporary lyricism, asking myself "What Would Billie Holiday Do [or write] Now?" The following two tracks are piano-based compositions, written (and played/recorded) entirely from the foundation of harmony rather than top-line melody. I worked hard for a single year to transition my main compositional instrument of 30 years (guitar), spending between three to eight hours a day playing piano, basically as a "novice", merging my love for traditional standards and my own musical writing. These two song are just bare-bones demos, and I am both playing and singing them (accompanying myself), which (at this stage of my player-ship) detracts a bit from performative vocal freedom. I believe, however, these two tracks at least relay the basics of the songs' intentions. Ideally, I'd give compositions to other players/a quartet (with bass clarinet). Note the volume of "Cut the Cord" is quite low, so one may have to listen through their headphones.
additional, relevant PAST WORKS (video and links to more below)
below: examples of my own pieces, renditions of others, traditional, contemporary
Below
1. "Footprints" (W. Shorter) lyrical interpretation, For Berklee: L. Helpert
2. "I Thought About You" (Van Heusen/Mercer), live, Villena Spain. 2018 L. Helpert quartet
3. "All the Things You Are" (J. Kern) arranged by L. Helpert, 2017, for guitar and voice.
4. "Mexico Heart" (Helpert) performed by L. Helpert/D.Soler 2015
5. "the Yes in the No" (Helpert) casual live-at-home recording (unreleased) 2016
6. "I wanted a Song" (Helpert + Sorensøn) Danish Art Council compositional collaboration, Valencia, 2018 (studio moment)
7. "Alfonso, You're So Stupid (Helpert) underground performance, 2015
8. "A-Train" (Strayhorn) lyrical interpretation: Helpert, Barcelona, quartet. 2018
9. Link to More Videos and dozens of Helpert original compositions (below)
|
|
|
|
|
|