Nina Simone was a singular artist, and she went where she pleased, leaving behind a recorded legacy that is passionate, political, defiant, and delicate by turns, no matter what strain of folk, blues, jazz, or gospel she was dipping into, and she did it all with dignity, grace, and intelligence…
Nina is VERY eclectic. At all of the concerts that I have attended, she has sung punk, opera, rock 'n' roll, blues, krishna chants, big band, and other styles. If you enjoy music as music, no matter what the style, then this CD captures that character of Nina– minus the opera. The first version of this CD, the German, Freud Euch, has two opera-style songs on it that aren't on this CD. There are a couple of other songs on this CD and not on Freud Euch: "Born To Die In Berlin" and "Shiva." This CD also sounds more like how the music sounds in concert, having less overdubs and production tweaks than Freud Euch. It sounds like it was produced for the American audience to give them an idea of what to expect from a live performance by her.
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.
If this is blues, it's blues in the Billie Holiday sense, not the Muddy Waters one. This is one of Nina Simone's more subdued mid-'60s LPs, putting the emphasis on her piano rather than band arrangements. It's rather slanted toward torch-blues ballads like "Strange Fruit," "Trouble in Mind," Billie Holiday's own composition "Tell Me More and More and Then Some," and "Nobody Knows You When You're Down and Out." Simone's then-husband, Andy Stroud, wrote "Be My Husband," an effective adaptation of a traditional blues chant. By far the most impressive track is her frantic ten-minute rendition of the traditional "Sinnerman," an explosive tour de force that dwarfs everything else on the album.
Casa del Jazz - a place that has become a mecca of jazz in Italii.Eto - a complex of buildings located in Rome (Villa Osio) .Concerts in the Casa del Jazz extend continuously, and acts as a lot of young performers from different European countries. Performers are also the best Italian jazz concerts which are published every year under the auspices of RadioCapital and newspaper La Repubblica.
Nina Simone recorded seven albums for the Philips label between 1964 and 1966. It was the period in her career in which her reputation was cemented as a world-class artist, and one in which she gained fame for her contributions to the civil rights movement as well. Despite the fact that she recorded great albums both before and after her years with Philips (most notably with RCA), her Philips period is easily her most enigmatic. Among her Philips recordings are her live label debut and six studio recordings featuring wildly varying instrumentation, arrangements, and contents. The box contains all seven LPs on four CDs, and includes one bonus track.