chrono about
The Nina Simone Database
Barra

In Concert
Budget compilation
 
 

Remember RMB 75011 (1989 PT)

Tracks sorted by number (sort by session or by title)
 1 [6:15] Ain't Got No / I Got Life   Gal MacDermot, James Rado, Gerome Ragni

 2 [8:59] Four Women   Nina Simone

 3 [3:24] Backlash Blues   Langston Hughes, Nina Simone

 4 [4:27] No Opportunity Necessary, No Experience Needed   Richie Havens

 5 [6:22] To Be Young, Gifted and Black   Weldon Irvine jr, Nina Simone

 6 [2:47] Ain't No Use   Rudy Stevenson

 7 [5:42] After You've Gone   Henry Creamer, Turner Layton

 8 [3:39] I Want a Little Sugar in My Bowl   Tim Brymn, Dally Small, Clarence Williams

 9 [4:49] Mississippi Goddam   Nina Simone

 10 [5:33] See-Line Woman   George Bass

 11 [4:14] The Other Woman   Jessie Mae Robinson

 12 [5:01] I Loves You Porgy   George Gershwin, Ira Gershwin, DuBose Heyward

Liner Notes
Singer-pianist Nina Simone, born Eunice Waymon in Tryon, North Carolina in 1933, is one of eight children, all of whom sing or play an instrument. Nina started playing the piano at the age of four. She left home for Philadelphia at seventeen, studying and teaching piano. Later she studied at New York's Juilliard School of Music, worked a few years as accompanist to singers and then began to sing herself.
In 1959 Nina signed with a record company and her debut album contained a million selling single – a tortuous, gospel-drenched version of George Gershwin's 'I Love You Porgy'. In 1959 Nina rose to national prominence with this hit and in a New York Times review, a critic observed: 'Songs are lucky when Nina Simone chooses them'.

Originally influenced by Marion Anderson and later by Louis Armstrong, Billie Holiday and Sarah Vaughan, Miss Simone is less a jazz singer than the area of her acceptance would appear to indicate. During the mid-1960s Nina's rather intense vocal and small combo style has dropped from commercial favour and she switched to soul music. She soon returned to the charts with 'Ain't Got No - I Got Life', from the musical Hair, and the race anthem Young, Gifted And Black. Nina Simone continued to tour, playing clubs, concerts and festivals into the 1970s. When this album was recorded her reputation was established and her popularity immense. The concert was based on a felicitous mix of Nina's big hits and own compositions.

From whichever category, Nina Simone based her choice upon themes with a catchy, attractive melodic line capable of appealing to a broad public. Successful choice of repertoire, it should be noted, remains a secret shared by just a select band of artists.
Black Americans have never occupied as prominent a position in the entertainment industry as they do now. The enormous market for soul- based music is not merely the outstanding example of this trend: more remarkably, it marks the entry of specifically black cultural idioms into the pop mainstream to an extent scarcely imaginable prior to the 1960s. Soul, a quality first identified by jazz musicians, musically implied a direct knowledge of gospel music and of its importance to the black community. Almost simultaneously the word was applied to black popular music, as it began increasingly to reflect the influence of gospel.

Reviewing Nina Simone's career, it is difficult, but important, to place her many accomplishments in perspective. The manner in which she has prevailed over blackness excites admiration. The breadth and depth of her musicianship, and her achievement to help to popularize a style hitherto confined to gospel, are matters of far-reaching musico-historical significance.
The pleasure Miss Simone has brought to millions all over the world with her playing and soul singing, on records and in personal appearances, is a heartwarming fact.