![]() ![]() The vocal cadenza at the end of “Feeling Good”, the album’s most famous number, puts Simone in a category beyond category. So are raw eggs in Worcestershire and the CONNECTION. She is far out, and at the same time common. ![]() So are the plays of Brendan Behan, Jean Genet, LeRoi Jones, and Bertold Brecht. Hal Mooney’s arrangements and production strike a balance between orchestral sweep and grooving rhythm, laced with the effective guitar of Rudy Stevenson (who contributes his own “One September Day” and “Blues On Purpose”). THE AMAZING NINA SIMONE 1959 - Colpix AT TOWN HALL 1959 - Colpix AT NEWPORT 1960 - Colpix FORBIDDEN FRUIT 1961 - Colpix AT THE VILLAGE GATE 1962 - Colpix SINGS ELLINGTON 1962 - Colpix AT CARNEGIE HALL 1963 - Colpix I PUT A. The one and only Nina Simone, a tribute by Langston Hughes: She is strange. Her voice is haunted, spellbinding, fragile yet commanding all at once, fluent in rock, soul, jazz and everything in between her piano underscoring is consummately tasteful and unpredictable. The album of the same name, her third for Philips (an association that spanned seven albums from 1964 to 1967), illustrates why that was: Simone covers everyone from Screamin’ Jay Hawkins to Jacques Brel to contemporary Broadway songsmiths Newley and Bricusse, subsuming all these sources into her own inimitable artistic persona. In her autobiography I Put a Spell on You, Nina Simone recalled her Greenwich Village days, when the micro scenes that had formed around folk, blues and jazz all embraced the singer-pianist with equal fervour. ![]()
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