I Put A Spell on You
Of all the major singers of the late 20th century, Nina Simone is one of the hardest to classify. She's recorded extensively in the soul, jazz, and pop idioms, often over the course of the same album; she's also comfortable with blues, gospel, and Broadway. It's perhaps most accurate to label her as a "soul" singer in terms of emotion, rather than form. Like, say, Aretha Franklin, or Dusty Springfield, Simone is an eclectic, who brings soulful qualities to whatever material she interprets.
These qualities are among her strongest virtues; paradoxically, they also may have kept her from attaining a truly mass audience. The same could be said of her stage persona; admired for her forthright honesty and individualism, she's also known for feisty feuding with audiences and promoters alike. If Simone has a chip on her shoulder, it probably arose from the formidable obstacles she had to overcome to establish herself as a popular singer.
Raised in a family of eight children, she originally harbored hopes of becoming a classical pianist, studying at New York's prestigious Juilliard School of Music -- a rare position for an African-American woman in the 1950s. Needing to support herself while she studied, she generated income by working as an accompanist and giving piano lessons. Auditioning for a job as a pianist in an Atlantic City nightclub, she was told she had the spot if she would sing as well as play.
Almost by accident, she began to carve a reputation as a singer of secular material, though her skills at the piano would serve her well throughout her career. In the late '50s, Simone began recording for the small Bethlehem label (a subsidiary of the vastly important early R&B/rock & roll King label). In 1959, her version of George Gershwin's "I Loves You Porgy" gave her a Top 20 hit -- which would, amazingly, prove to be the only Top 40 entry of her career.
Nina wouldn't need hit singles for survival, however, establishing herself not with the rock & roll/R&B crowd, but with the adult/nightclub/album market. In the early '60s, she recorded no less than nine albums for the Candix label, about half of them live. These unveiled her as a performer of nearly unsurpassed eclecticism, encompassing everything from Ellingtonian jazz and Israeli folk songs to spirituals and movie themes.
Simone's best recorded work was issued on Philips during the mid-'60s. Here, as on Candix, she was arguably over-exposed, issuing seven albums within a three-year period. These records can be breathtakingly erratic, moving from warm ballad interpretations of Jacques Brel and Billie Holiday and instrumental piano workouts to brassy pop and angry political statements in a heartbeat.There's a great deal of fine music to be found on these, however.
Simone's moody-yet-elegant vocals are like no one else's, presenting a fiercely independent soul who harbors enormous (if somewhat hard-bitten) tenderness. Like many African-American entertainers of the mid-'60s, Simone was deeply affected by the civil-rights movement and burgeoning Black pride. Some (though by no means most) of her best material from this time addressed these concerns in a fashion more forthright than almost any other singer. "Old Jim Crow" and, more particularly, the classic "Mississippi Goddam" were especially notable self-penned efforts in this vein, making one wish that Nina had written more of her own material instead of turning to outside sources for most of her repertoire.
Not that this repertoire wasn't well-chosen. Several of her covers from the mid-'60s, indeed, were classics: her revision of Weill-Brecht's "Pirate Jenny" to reflect the bitter elements of African-American experience, for instance, or her mournful interpretation of Brel's "Ne Me Quitte Pas." Other highlights were her versions of "Don't Let Me Be Misunderstood," covered by the Animals for a rock hit; "I Put a Spell on You," which influenced the vocal line on the Beatles' "Michelle"; and the buzzing, jazzy "See Line Woman."
Simone was not as well-served by her tenure with RCA in the late '60s and early '70s, another prolific period which saw the release of nine albums. These explored a less eclectic range, with a considerably heavier pop-soul base to both the material and arrangements. One bonafide classic did come out of this period: "Young, Gifted & Black," written by Simone and Weldon Irvine, Jr., would be successfully covered by both Aretha Franklin and Donny Hathaway.
She did have a couple of Top Five British hits in the late '60s with "Ain't Got No" (from the musical Hair) and a cover of the Bee Gees' "To Love Somebody," neither of which rank among her career highlights. Simone fell on turbulent times in the 1970s, divorcing her husband/manager Andy Stroud, encountering serious financial problems, and becoming something of a nomad, settling at various points in Switzerland, Liberia, Barbados, France, and Britain.
After leaving RCA, she recorded rarely, although she did make the critically well-received Baltimore in 1978 for the small CTI label. She had an unpredictable resurgence in 1987, when an early track, "My Baby Just Cares for Me," became a big British hit after being used in a Chanel perfume television commercial. 1993's A Single Woman marked her return to an American major label, and her profile was also boosted when several of her songs were featured in the film Point of No Return. She published her biography, I Put a Spell on You, in 1991 .There were several run-ins with the law in the 90s in France, as Nina Simone shot a rifle at rowdy neighbors and left the scene of an accident in which two motorcyclists were injured. She paid fines and was put on probation, and was required to seek psychological counseling.
In 1995, she won ownership of 52 of her master recordings in a San Francisco court, and in 94-95 she had what she described as "a very intense love affair" -- "it was like a volcano." In her last years, Nina Simone was sometimes seen in a wheelchair between performances. She died April 21, 2003, in her adopted homeland, France.
In a 1969 interview with Phyl Garland, Nina Simone said:
There's no other purpose, so far as I'm concerned, for us except to reflect the times, the situations around us and the things we're able to say through our art, the things that millions of people can't say. I think that's the function of an artist and, of course, those of us who are lucky leave a legacy so that when we're dead, we also live on. That's people like Billie Holiday and I hope that I will be that lucky, but meanwhile, the function, so far as I'm concerned, is to reflect the times, whatever that might be.
Nina Simone is often classified as a jazz singer, but this is what she had to say in 1997 (in an interview with Brantley Bardin): 'To most white people, jazz means black and jazz means dirt and that's not what I play. I play black classical music. That's why I don't like the term "jazz," and Duke Ellington didn't like it either -- it's a term that's simply used to identify black people."
Of all the major singers of the late 20th century, Nina Simone is one of the hardest to classify. She's recorded extensively in the soul, jazz, and pop idioms, often over the course of the same album; she's also comfortable with blues, gospel, and Broadway. It's perhaps most accurate to label her as a "soul" singer in terms of emotion, rather than form. Like, say, Aretha Franklin, or Dusty Springfield, Simone is an eclectic, who brings soulful qualities to whatever material she interprets.
These qualities are among her strongest virtues; paradoxically, they also may have kept her from attaining a truly mass audience. The same could be said of her stage persona; admired for her forthright honesty and individualism, she's also known for feisty feuding with audiences and promoters alike. If Simone has a chip on her shoulder, it probably arose from the formidable obstacles she had to overcome to establish herself as a popular singer.
Raised in a family of eight children, she originally harbored hopes of becoming a classical pianist, studying at New York's prestigious Juilliard School of Music -- a rare position for an African-American woman in the 1950s. Needing to support herself while she studied, she generated income by working as an accompanist and giving piano lessons. Auditioning for a job as a pianist in an Atlantic City nightclub, she was told she had the spot if she would sing as well as play.
Almost by accident, she began to carve a reputation as a singer of secular material, though her skills at the piano would serve her well throughout her career. In the late '50s, Simone began recording for the small Bethlehem label (a subsidiary of the vastly important early R&B/rock & roll King label). In 1959, her version of George Gershwin's "I Loves You Porgy" gave her a Top 20 hit -- which would, amazingly, prove to be the only Top 40 entry of her career.
Nina wouldn't need hit singles for survival, however, establishing herself not with the rock & roll/R&B crowd, but with the adult/nightclub/album market. In the early '60s, she recorded no less than nine albums for the Candix label, about half of them live. These unveiled her as a performer of nearly unsurpassed eclecticism, encompassing everything from Ellingtonian jazz and Israeli folk songs to spirituals and movie themes.
Simone's best recorded work was issued on Philips during the mid-'60s. Here, as on Candix, she was arguably over-exposed, issuing seven albums within a three-year period. These records can be breathtakingly erratic, moving from warm ballad interpretations of Jacques Brel and Billie Holiday and instrumental piano workouts to brassy pop and angry political statements in a heartbeat.There's a great deal of fine music to be found on these, however.
Simone's moody-yet-elegant vocals are like no one else's, presenting a fiercely independent soul who harbors enormous (if somewhat hard-bitten) tenderness. Like many African-American entertainers of the mid-'60s, Simone was deeply affected by the civil-rights movement and burgeoning Black pride. Some (though by no means most) of her best material from this time addressed these concerns in a fashion more forthright than almost any other singer. "Old Jim Crow" and, more particularly, the classic "Mississippi Goddam" were especially notable self-penned efforts in this vein, making one wish that Nina had written more of her own material instead of turning to outside sources for most of her repertoire.
Not that this repertoire wasn't well-chosen. Several of her covers from the mid-'60s, indeed, were classics: her revision of Weill-Brecht's "Pirate Jenny" to reflect the bitter elements of African-American experience, for instance, or her mournful interpretation of Brel's "Ne Me Quitte Pas." Other highlights were her versions of "Don't Let Me Be Misunderstood," covered by the Animals for a rock hit; "I Put a Spell on You," which influenced the vocal line on the Beatles' "Michelle"; and the buzzing, jazzy "See Line Woman."
Simone was not as well-served by her tenure with RCA in the late '60s and early '70s, another prolific period which saw the release of nine albums. These explored a less eclectic range, with a considerably heavier pop-soul base to both the material and arrangements. One bonafide classic did come out of this period: "Young, Gifted & Black," written by Simone and Weldon Irvine, Jr., would be successfully covered by both Aretha Franklin and Donny Hathaway.
She did have a couple of Top Five British hits in the late '60s with "Ain't Got No" (from the musical Hair) and a cover of the Bee Gees' "To Love Somebody," neither of which rank among her career highlights. Simone fell on turbulent times in the 1970s, divorcing her husband/manager Andy Stroud, encountering serious financial problems, and becoming something of a nomad, settling at various points in Switzerland, Liberia, Barbados, France, and Britain.
After leaving RCA, she recorded rarely, although she did make the critically well-received Baltimore in 1978 for the small CTI label. She had an unpredictable resurgence in 1987, when an early track, "My Baby Just Cares for Me," became a big British hit after being used in a Chanel perfume television commercial. 1993's A Single Woman marked her return to an American major label, and her profile was also boosted when several of her songs were featured in the film Point of No Return. She published her biography, I Put a Spell on You, in 1991 .There were several run-ins with the law in the 90s in France, as Nina Simone shot a rifle at rowdy neighbors and left the scene of an accident in which two motorcyclists were injured. She paid fines and was put on probation, and was required to seek psychological counseling.
In 1995, she won ownership of 52 of her master recordings in a San Francisco court, and in 94-95 she had what she described as "a very intense love affair" -- "it was like a volcano." In her last years, Nina Simone was sometimes seen in a wheelchair between performances. She died April 21, 2003, in her adopted homeland, France.
In a 1969 interview with Phyl Garland, Nina Simone said:
There's no other purpose, so far as I'm concerned, for us except to reflect the times, the situations around us and the things we're able to say through our art, the things that millions of people can't say. I think that's the function of an artist and, of course, those of us who are lucky leave a legacy so that when we're dead, we also live on. That's people like Billie Holiday and I hope that I will be that lucky, but meanwhile, the function, so far as I'm concerned, is to reflect the times, whatever that might be.
Nina Simone is often classified as a jazz singer, but this is what she had to say in 1997 (in an interview with Brantley Bardin): 'To most white people, jazz means black and jazz means dirt and that's not what I play. I play black classical music. That's why I don't like the term "jazz," and Duke Ellington didn't like it either -- it's a term that's simply used to identify black people."
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