MESHELL NDEGEOCELLO
''POR UNE ÂME SOUVERAINE: A DEDICATION TO NINA SIMONE''
OCTOBER 16 2012
54:10
********************
01 - Please Don't Let Me Be Misunderstood 04:10 (Bennie Benjamin, Gloria Caldwell, Marcus Sol)
02 - Suzanne 04:28 (Leonard Cohen)
03 - Real Real 03:09 (Nina Simone)
04 - House of the Rising Sun 03:38 (Libby Holmes, Josh White)
05 - Turn Me On 03:10 (John D. Loudermilk)
06 - Feelin' Good 04:12 (Leslie Bricusse, Anthony Newley)
07 - Don't Take All Night 03:29 (Bennie Benjamin, Marcus Sol)
08 - Nobody's Fault but Mine 02:39 (Nina Simone)
09 - Be My Husband 03:32 (Andrew Benjamin Stroud)
10 - Black Is the Color of My True Love's Hair 03:54 ((Emile Latimer)
11 - See Line Woman 05:53 (George Bass, Nina Simone)
12 - Either Way I Lose 03:31 (Van McCoy)
13 - To Be Young, Gifted and Black 03:18 (Nina Simone)
14 - Four Women 05:02 (Nina Simone)
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Meshell Ndegeocello - bass
Chris Bruce - guitar
Jebin Bruni - keyboards, piano
Deantoni Parks - drums
Toshi Reagon - vocals on 03, 04
Sinead O'Connor - vocals on 07
Lizz Wright - vocals on 08
Valerie June - vocals on 09
Tracy Wannomae - soprano saxophone and flute on 13
********************
REVIEW/AMG
Thom Jurek
Few artists are as tough to pin down as Meshell Ndegeocello. Throughout her career she has continually thwarted attempts by industry forces who would attempt to define her. She's a master bassist and a poignant, restless songwriter. Pour Une Âme Souveraine is a collection of songs associated with or written by Nina Simone. It stands in sharp contrast to 2011's Weather, a stripped-down meditation on love's difficulties, disappointments, and endurance. Pour Une Âme Souveraine, was co-produced by Ndegeocello and guitarist Chris Bruce. They, along with Deantoni Parks on drums and Jebin Bruni on keyboards, account for most of the music-making here. Ndegeocello's voice and bass are central, though she enlists a handful of guest vocalists who add a mercurial dimension to these sometimes startling proceedings. Ndegeocello doesn't try to re-create Simone's performances or merely pay tribute. Instead, she invokes her pioneering spirit. Simone tried to present her own totality and complexity in each song she wrote and performed. Ndegeocello adds layers of not only complexity, but also ambiguity to her own identity as she celebrates her subject's pioneering spirit. Highlights include a startling read of Simone's stellar "Feelin' Good." Ndegeocello gets at the root of what is inferred in the tune, not declared in its title: ambivalence. Her interpretation reveals the title as an unanswered question. Her version of Leonard Cohen's "Suzanne" contains double-timed drums, slippery electric guitars, a pronounced bassline, and sprightly piano; it's a love song whose perspective implies direct experience with the subject, instead of an homage to the object of its lyrics. Toshi Reagon's appearance on "House of the Rising Sun" is drenched in soul atop driving, funky rock & roll. While the waltz time of "Don't Take All Night" remains the same, Sinéad O'Connor guides it as a sad country tune instead of a souled-out blues. Lizz Wright's voice in front of "Nobody's Fault But Mine" is a moaning, gospel blues."See Line Woman" is a skittering, syncopated jazz with Ndegeocello's funky bassline contrasted with a swooping flute. Tracy Wannomae's vocal keeps the brooding quality of the original, but it's inside a spooky jazz-funk number with skittering tom-toms and snares. Chesnutt's "To Be Young, Gifted and Black," written for Simone by Weldon Irvine, is lovely yet curious because it's a cut that Ndegeocello may have easily -- and convincingly -- claimed for herself. She does own "Black Is the Color Of My True Love's Hair," with its broken beat drums, reverbed electric guitar, and sensual, spooky keyboards. Pour Une Âme Souveraine is the best kind of dedication to Simone: it invokes her inspiration rather than attempting to re-create her character.
********************
BIOGRAPHY/AMG
Greg Prato
Although Meshell Ndegeocello scored a few hits early in her career, the bassist, singer, and songwriter later opted to concentrate on more challenging material by exploring the politics of race and sex, among other topics. From her 1993 Maverick label debut through her releases of the 2010s for Naïve, she built a discography of recordings that defied classification through progressive mixtures of jazz, R&B, hip-hop, and rock. Initially held in regard primarily for her bass playing and bold lyrics, her songwriting, which often examined dark interpersonal issues, was just as exceptional.
Michelle Lynn Johnson, born on August 29, 1968, spent the first few years of her life in Germany. Her father was both a military man and a jazz saxophonist. She relocated with her family to Virginia in the early '70s. As a youngster, Johnson developed an interest in music; during her teenage years, she began to play regularly in the clubs of Washington, D.C., but eventually settled down in New York City after a stint of studying music at Howard University. By this point, she was going by Me'Shell NdegéOcello -- her adopted last name Swahili for "free like a bird." After auditioning for several bands, including Living Colour, NdegéOcello struck out on her own and often performed solo with just a bass, drum machine, and keyboard. In the early '90s, she was one of the first artists signed to Madonna's Warner-affiliated Maverick label.
Plantation Lullabies
NdegéOcello's debut album, 1993's Plantation Lullabies, was produced with David Gamson, as well as with André Betts and Bob Power, and involved input from a wide range of musicians, including DJ Premier, Joshua Redman, Bill Summers, Wah-Wah Watson, and David Fiuczynski. An impressive first album, it spawned the hit "If That's Your Boyfriend (He Wasn't Last Night)" and received three Grammy nominations. A duet with John Mellencamp on a cover of Van Morrison's "Wild Night," released a year later, brought her more mainstream attention; it peaked at number three on the Billboard Hot 100.
White Man's Burden
Almost three years passed between the release of NdegéOcello's first and second albums, but during the wait, she collaborated with Chaka Khan on the track "Never Miss the Water," and she appeared on movie soundtracks (White Man's Burden, Money Talks) and on such multi-artist releases as Ain't Nuthin' But a She Thing and Lilith Fair, Vol. 3. Peace Beyond Passion finally saw release in 1996, peaked higher on the Billboard 200 (at number 63), and was also nominated for a Best R&B Album Grammy. Its cover of Bill Withers' "Who Is He (And What Is He to You?)" topped Billboard's club chart. Produced by Gamson, it featured a longer list of noted associates, including several heard on the debut, as well as Billy Preston, Bennie Maupin, David Torn, Wendy Melvoin, and Paul Riser.
Bitter
Another three-year break between albums occurred, during which time she collaborated with rapper Queen Pen on the track "Girlfriend." Bitter, for which she was billed as Meshell Ndegéocello, was released in 1999. She took another three-year break and emerged with Cookie: The Anthropological Mixtape -- as Meshell Ndegeocello -- in 2002. Comfort Woman followed in 2003 and Dance of the Infidel, a sprawling album made with numerous collaborators from the jazz world, surfaced in 2005. Two years later, her fantastic Decca debut, The World Has Made Me the Man of My Dreams, which included guest appearances from Pat Metheny and Oumou Sangare, was released.
Devil's Halo
Her first pop-related recording in half a decade, 2009's Devil's Halo featured Ndegeocello in a quartet setting. The album also included guest spots from Lisa Germano and Oren Bloedow. Ndegeocello toured the album in opera houses and concert halls across the United States and Europe. In 2011, she partnered with Grammy-winning producer Joe Henry for the album Weather; it was issued on the Naïve label. In 2012, Ndegeocello released Pour une Âme Souveraine: A Dedication to Nina Simone, a collection of tunes intimately associated with the legendary vocalist and pianist. Comet, Come to Me, another deep set of introspective songs, followed in 2014.
********************
WEBSITE
********************
TO THE TOP
********************
''POR UNE ÂME SOUVERAINE: A DEDICATION TO NINA SIMONE''
OCTOBER 16 2012
54:10
********************
01 - Please Don't Let Me Be Misunderstood 04:10 (Bennie Benjamin, Gloria Caldwell, Marcus Sol)
02 - Suzanne 04:28 (Leonard Cohen)
03 - Real Real 03:09 (Nina Simone)
04 - House of the Rising Sun 03:38 (Libby Holmes, Josh White)
05 - Turn Me On 03:10 (John D. Loudermilk)
06 - Feelin' Good 04:12 (Leslie Bricusse, Anthony Newley)
07 - Don't Take All Night 03:29 (Bennie Benjamin, Marcus Sol)
08 - Nobody's Fault but Mine 02:39 (Nina Simone)
09 - Be My Husband 03:32 (Andrew Benjamin Stroud)
10 - Black Is the Color of My True Love's Hair 03:54 ((Emile Latimer)
11 - See Line Woman 05:53 (George Bass, Nina Simone)
12 - Either Way I Lose 03:31 (Van McCoy)
13 - To Be Young, Gifted and Black 03:18 (Nina Simone)
14 - Four Women 05:02 (Nina Simone)
********************
Meshell Ndegeocello - bass
Chris Bruce - guitar
Jebin Bruni - keyboards, piano
Deantoni Parks - drums
Toshi Reagon - vocals on 03, 04
Sinead O'Connor - vocals on 07
Lizz Wright - vocals on 08
Valerie June - vocals on 09
Tracy Wannomae - soprano saxophone and flute on 13
********************
REVIEW/AMG
Thom Jurek
Few artists are as tough to pin down as Meshell Ndegeocello. Throughout her career she has continually thwarted attempts by industry forces who would attempt to define her. She's a master bassist and a poignant, restless songwriter. Pour Une Âme Souveraine is a collection of songs associated with or written by Nina Simone. It stands in sharp contrast to 2011's Weather, a stripped-down meditation on love's difficulties, disappointments, and endurance. Pour Une Âme Souveraine, was co-produced by Ndegeocello and guitarist Chris Bruce. They, along with Deantoni Parks on drums and Jebin Bruni on keyboards, account for most of the music-making here. Ndegeocello's voice and bass are central, though she enlists a handful of guest vocalists who add a mercurial dimension to these sometimes startling proceedings. Ndegeocello doesn't try to re-create Simone's performances or merely pay tribute. Instead, she invokes her pioneering spirit. Simone tried to present her own totality and complexity in each song she wrote and performed. Ndegeocello adds layers of not only complexity, but also ambiguity to her own identity as she celebrates her subject's pioneering spirit. Highlights include a startling read of Simone's stellar "Feelin' Good." Ndegeocello gets at the root of what is inferred in the tune, not declared in its title: ambivalence. Her interpretation reveals the title as an unanswered question. Her version of Leonard Cohen's "Suzanne" contains double-timed drums, slippery electric guitars, a pronounced bassline, and sprightly piano; it's a love song whose perspective implies direct experience with the subject, instead of an homage to the object of its lyrics. Toshi Reagon's appearance on "House of the Rising Sun" is drenched in soul atop driving, funky rock & roll. While the waltz time of "Don't Take All Night" remains the same, Sinéad O'Connor guides it as a sad country tune instead of a souled-out blues. Lizz Wright's voice in front of "Nobody's Fault But Mine" is a moaning, gospel blues."See Line Woman" is a skittering, syncopated jazz with Ndegeocello's funky bassline contrasted with a swooping flute. Tracy Wannomae's vocal keeps the brooding quality of the original, but it's inside a spooky jazz-funk number with skittering tom-toms and snares. Chesnutt's "To Be Young, Gifted and Black," written for Simone by Weldon Irvine, is lovely yet curious because it's a cut that Ndegeocello may have easily -- and convincingly -- claimed for herself. She does own "Black Is the Color Of My True Love's Hair," with its broken beat drums, reverbed electric guitar, and sensual, spooky keyboards. Pour Une Âme Souveraine is the best kind of dedication to Simone: it invokes her inspiration rather than attempting to re-create her character.
********************
BIOGRAPHY/AMG
Greg Prato
Although Meshell Ndegeocello scored a few hits early in her career, the bassist, singer, and songwriter later opted to concentrate on more challenging material by exploring the politics of race and sex, among other topics. From her 1993 Maverick label debut through her releases of the 2010s for Naïve, she built a discography of recordings that defied classification through progressive mixtures of jazz, R&B, hip-hop, and rock. Initially held in regard primarily for her bass playing and bold lyrics, her songwriting, which often examined dark interpersonal issues, was just as exceptional.
Michelle Lynn Johnson, born on August 29, 1968, spent the first few years of her life in Germany. Her father was both a military man and a jazz saxophonist. She relocated with her family to Virginia in the early '70s. As a youngster, Johnson developed an interest in music; during her teenage years, she began to play regularly in the clubs of Washington, D.C., but eventually settled down in New York City after a stint of studying music at Howard University. By this point, she was going by Me'Shell NdegéOcello -- her adopted last name Swahili for "free like a bird." After auditioning for several bands, including Living Colour, NdegéOcello struck out on her own and often performed solo with just a bass, drum machine, and keyboard. In the early '90s, she was one of the first artists signed to Madonna's Warner-affiliated Maverick label.
Plantation Lullabies
NdegéOcello's debut album, 1993's Plantation Lullabies, was produced with David Gamson, as well as with André Betts and Bob Power, and involved input from a wide range of musicians, including DJ Premier, Joshua Redman, Bill Summers, Wah-Wah Watson, and David Fiuczynski. An impressive first album, it spawned the hit "If That's Your Boyfriend (He Wasn't Last Night)" and received three Grammy nominations. A duet with John Mellencamp on a cover of Van Morrison's "Wild Night," released a year later, brought her more mainstream attention; it peaked at number three on the Billboard Hot 100.
White Man's Burden
Almost three years passed between the release of NdegéOcello's first and second albums, but during the wait, she collaborated with Chaka Khan on the track "Never Miss the Water," and she appeared on movie soundtracks (White Man's Burden, Money Talks) and on such multi-artist releases as Ain't Nuthin' But a She Thing and Lilith Fair, Vol. 3. Peace Beyond Passion finally saw release in 1996, peaked higher on the Billboard 200 (at number 63), and was also nominated for a Best R&B Album Grammy. Its cover of Bill Withers' "Who Is He (And What Is He to You?)" topped Billboard's club chart. Produced by Gamson, it featured a longer list of noted associates, including several heard on the debut, as well as Billy Preston, Bennie Maupin, David Torn, Wendy Melvoin, and Paul Riser.
Bitter
Another three-year break between albums occurred, during which time she collaborated with rapper Queen Pen on the track "Girlfriend." Bitter, for which she was billed as Meshell Ndegéocello, was released in 1999. She took another three-year break and emerged with Cookie: The Anthropological Mixtape -- as Meshell Ndegeocello -- in 2002. Comfort Woman followed in 2003 and Dance of the Infidel, a sprawling album made with numerous collaborators from the jazz world, surfaced in 2005. Two years later, her fantastic Decca debut, The World Has Made Me the Man of My Dreams, which included guest appearances from Pat Metheny and Oumou Sangare, was released.
Devil's Halo
Her first pop-related recording in half a decade, 2009's Devil's Halo featured Ndegeocello in a quartet setting. The album also included guest spots from Lisa Germano and Oren Bloedow. Ndegeocello toured the album in opera houses and concert halls across the United States and Europe. In 2011, she partnered with Grammy-winning producer Joe Henry for the album Weather; it was issued on the Naïve label. In 2012, Ndegeocello released Pour une Âme Souveraine: A Dedication to Nina Simone, a collection of tunes intimately associated with the legendary vocalist and pianist. Comet, Come to Me, another deep set of introspective songs, followed in 2014.
********************
WEBSITE
********************
TO THE TOP
********************
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