|
FRANCINE
REED
Born in Chicago, IL, Francine Reed is
known as Lyle Lovett’s duet and back-up
vocalist. She's been singing, since she was a
child in her family’s gospel group.
“I
always say I was born singing,” recalls
Francine. “When the doctor slapped me, I went
to singing ‘Look at me!'”
Ms.
Reed pursued her dream as a full-time
performer, when her children were grown up and
self-sufficient. She performed in local jazz
clubs and at various functions, rising to
prominence in Phoenix, Arizona, where Reed
appeared on the bill with Miles Davis, Smokey
Robinson, Etta James, and The Crusaders.
In
1985, she met Lyle Lovett and they formed a
strong alliance that continues to this day.
“Lyle has always intrigued me, and has been my
greatest influence in the last fifteen years
of my life. Just seeing the amount of
importance he puts into every performance and
into every recording session has had a
tremendous effect on me. Being around
musicians of his caliber has brought me to a
higher level.”
Francine provides Lovett and his Large Band
with an indelible stage presence and harmonic
texture that has captured fans and critics
worldwide. Reminiscing on their initial
encounter at a recording session, she said, “I
couldn’t believe the voice I heard in the
headphones belonged to THAT guy, I could’ve
sworn that wasn’t him singing.”
Reed has performed with Lovett’s ensemble for
over a decade. She appeared on several of his
platinum discs and sang with Lovett on Late
Night with David Letterman, The Tonight
Show with Jay Leno, and Regis and Kathy
Lee.
In
addition to touring with Lovett, Reed is on
recordings by Delbert McClinton and Roy
Orbison. Her distinctive vocals can be herd on
TV commercials, including Senekot Laxative (I
Feel Good) and in a scene from the 1993
hit film, The Firm, via Tom Cruise’s
character’s disc player.
“I
can still remember my first performance, when
I was a three year old in my aunt’s church.
Her name was Helen Francis, for whom I’m
named, and I was so small, they had to put me
on the piano. I used to listen to rehearsals
with her gospel choir and I’d sing I Wanna
See Jesus for the congregation. An
audience to me could be just one or two
people. My mom would have guests over and
point to me and say ‘sing a song.’ I would
just go on and sing, and I’d even make up my
own songs. It’s a natural God-given talent.”
Francine Reed’s solo career began in the mid
–1990s, after she relocated to Georgia. She
released I Want You To Love Me, in
1985, featuring Lyle Lovett. In 1986, she
released Can't Make It On My Own that
featured studio legends Al Kooper (organ) and
Bob Babbait (bass), along with McClinton. Both
recordings were highly acclaimed with the
latter being the catalyst for a prestigious
W. C. Handy Artist of the Year and
Song of the Year nominations.
Bonnie Raitt praised Francine Reed during a
concert at Chastain Park when she walked on
stage with Ms. Reed’s album, proclaiming, “You
folks have a national treasure here in
Atlanta.”
Produced by Bryan Cole and Edd Miller for CMO
Productions, in Atlanta, Shades of Blue
is a stellar collection of ten compositions
that allow Reed to expand on the legacy in
which she carved her niche. The record
features up-tempo dance selections, heartfelt
ballads and lush orchestrations. It is
definitely essential listening.
“My
brother Tony introduced me to jazz. Like most
of my family, I was into Rhythm & Blues,
Motown, Donny Hathaway, Stevie Wonder, and
Nancy Wilson. We used to listen to the radio
and were influenced by everyone we heard. And
we thought we could do what everyone else was
doing.”
Got A Right To Sing The Blues is one of
the special moments on her latest release. The
duet of Francine and her sister, Margo,
bespeaks a deep passion for the blues.
“I
always loved the way Margo did this tune,”
notes Francine, “and anything we sing together
is going to be enjoyable.”
Choosing the songs for Shades of Blue
was no easy task for a singer well versed in a
number of genres. “Producers Bryan Cole and
Edd Miller did everything for me on this
album, except the singing! We received tunes
from advertisements placed in magazines for me
and they weeded through the tapes, selecting
what was right for me. Their expertise made it
all happen.”
The
selections reveal a very personal aspect of
Reed's life, like The Man That Got Away,
Wrong Man For The Job, I Have A Right To Know
and I’m A Handful.
“Oh
yes, it’s a man thing. . .my breakup with a
gentleman had a lot to do with these songs. It
comes around every now and then. When we’re in
the studio, I try to go with first takes.
Since I’m constantly working, I don’t have the
luxury of setting aside time specifically to
record,” Francine asserts.
On
the subject of capturing the energy of a live
performance in a recording booth and keeping
the concert flame burning, Ms. Reed notes
“it’s a mindset for me that I’m still trying
to master. If it’s a really good song, then it
just comes out of me. At a gig, I try to
phrase like a record, which is what the
audience comes to hear. I learned that from
being on the road with Lyle. Other times I
have a tendency to be more improvisational and
feed of the musicians and the crowd. Then I
can kick it up a notch. How that comes about,
I really don’t know. I just open my mouth and
sing from the heart. I’m really blessed.”
Links to
Francine Reed
Share our Newsletters with your friends!
Visit our website and
become a member.
|
D
