Who Was Nina Simone? – Day 3 of Black History Month 

The High Priestess of Liberation Soul Music

Nina Simone  was one of the most extraordinary artists of the twentieth century, an icon of American music. She was the consummate musical storyteller, a griot as she would come to learn, who used her remarkable talent to create a legacy of liberation, empowerment, passion, and love through a magnificent body of works.

She earned the moniker ‘High Priestess of Soul’ for she could weave a spell so seductive and hypnotic that the listener lost track of time and space as they became absorbed in the moment. She was who the world would come to know as Nina Simone.

When Nina Simone died on April 21, 2003, she left a timeless treasure trove of musical magic spanning over four decades from her first hit, the 1959 Top 10 classic “I Loves You Porgy,” to “A Single Woman,” the title cut from her one and only 1993 Elektra album. While thirty-three years separate those recordings, the element of honest emotion is the glue that binds the two together – it is that approach to every piece of work that became Nina’s uncompromising musical trademark.

By the end of her life, Nina was enjoying an unprecedented degree of recognition. Her music was enjoyed by the masses due to the CD revolution, discovery on the Internet, and exposure through movies and television. Nina had sold over one million CDs in the last decade of her life, making her a global catalog best-seller.

No one website can fully explore the many nuances and flavors that made up the more than 40 original albums in the Nina Simone library. This site and accompanying radio station contain many of Nina’s finest works. However, we might not have had the chance to witness the breathtaking range of material Nina could cover if she hadn’t taken the path she did.

Contribute here to help us keep her legacy alive.

Born Eunice Kathleen Waymon in Tryon, North Carolina on February 21st, 1933, Nina’s prodigious talent as a musician was evident early on when she started playing piano by ear at the age of three. Her mother, a Methodist minister, and her father, a handyman and preacher himself, couldn’t ignore young Eunice’s God-given gift of music. Raised in the church on the straight and narrow, her parents taught her right from wrong, to carry herself with dignity, and to work hard. She played piano – but didn’t sing – in her mother’s church, displaying remarkable talent early in her life. Able to play virtually anything by ear, she was soon studying classical music with an Englishwoman named Muriel Mazzanovich, who had moved to the small southern town. It was from these humble roots that Eunice developed a lifelong love of Johann Sebastian Bach, Chopin, Brahms, Beethoven and Schubert.

This website captures milestones in a career that has had more than its share of peaks and valleys.After graduating valedictorian of her high school class, the community raised money for a scholarship for Eunice to study at Julliard in New York City before applying to the prestigious Curtis Institute of Music in Philadelphia. Her family had already moved to the City Of Brotherly Love, but Eunice’s hopes for a career as a pioneering African American classical pianist were dashed when the school denied her admission. To the end, she herself would claim that racism was the reason she did not attend. While her original dream was unfulfilled, Eunice ended up with an incredible worldwide career as Nina Simone – almost by default.

To survive, she began teaching music to local students. One fateful day in 1954, looking to supplement her income, Eunice auditioned to sing at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, New Jersey. Word spread about this new singer and pianist who was dipping into the songbooks of Gershwin, Cole Porter, Richard Rodgers, and the like, transforming popular tunes of the day into a unique synthesis of jazz, blues, and classical music. Her rich, deep velvet vocal tones, combined with her mastery of the keyboard, soon attracted club goers up and down the East Coast. In order to hide the fact that she was singing in bars, Eunice’s mother would refer to the practice as “working in the fires of hell”, overnight Eunice Waymon became Nina Simone by taking the nickname “Nina” meaning “little one” in Spanish and “Simone” after the actress Simone Signoret.

Contribute here to help us keep her legacy alive.

At the age of twenty-four, Nina came to the attention of the record industry. After submitting a demo of songs she had recorded during a performance in New Hope, Pennsylvania, she was signed by Syd Nathan, owner of the Ohio-based King Records (home to James Brown), to his Jazz imprint, Bethlehem Records. The boisterous Nathan had insisted on choosing songs for her debut set, but eventually relented and allowed Nina to delve in the repertoire she had been performing at clubs up and down the eastern seaboard. One of Nina’s stated musical influences was Billie Holiday and her inspired reading of “Porgy” (from “Porgy & Bess”) heralded the arrival of a new talent on the national scene. At the same mammoth 13 hour session in 1957, recorded in New York City, Nina also cut “My Baby Just Cares For Me,” previously recorded by Nate King Cole, Count Basie, and Woody Herman. The song was used by Chanel in a perfume commercial in Europe in the 1980’s and it became a massive hit for Nina, a British chart topper at #5, and thus a staple of her repertoire for the rest of her career.

Nina Simone’s stay with Bethlehem Records was short lived and in 1959, after moving to New York City, she was signed by Joyce Selznik, the eastern talent scout for Colpix Records, a division of Columbia Pictures. Months after the release of her debut LP for the label (1959‘s The Amazing Nina Simone), Nina was performing at her first major New York City venue, the mid-Manhattan-located Town Hall. Sensing that her live performances would capture the essential spontaneity of her artistry, Colpix opted to record her September 12, 1959 show. “You Can Have Him,” a glorious torch song previously cut by Peggy Lee and Ella Fitzgerald, was one of the highlights of the evening. The song opened with a dazzling keyboard arpeggio that would become her signature for decades. So momentous was the Town Hall performance that it inspired some of the same musicians, featuring the vocals of Nina’s only daughter, Lisa Simone Kelly, to do a tribute to a sold out audience over forty five years later.

As Nina’s reputation as an engaging live performer grew, it wasn’t long before she was asked to perform at the prestigious Newport Jazz Festival. Accompanied on the June 30th,1960 show by Al Schackman, a guitarist who would go on to become Nina’s longest-running musical colleague, bassist Chris White, and drummer Bobby Hamilton, the dynamic show was recorded by the Colpix. The subsequent release in 1961 of the old blues tune “Trouble In Mind” as a single gave Nina her third charted record.

Her stay with Colpix resulted in some wonderful albums – nine in all – included Nina’s version of Bessie Smith’s blues classic “Nobody Knows You When You’re Down And Out.” Issued as a single in 1960, it became Nina’s second charted Pop and R&B hit and one of two Colpix tracks to achieve such a feat during her five year stint with the label. Other stand out tracks from that era were the soulful song “Cotton Eyed Joe,” the torch tune “The Other Women,” and the Norwegian folk rendition of “Black Is The Colour Of My True Love’s Hair” – all beautiful examples of Nina Simone at her storytelling best, painting a vivid picture with her skill as a lyrical interpreter. During this time with the label, Nina recorded one civil rights song, Oscar Brown Jr.’s “Brown Baby,” which was included on her fifth album for the label, At The Village Gate.

“Critics started to talk about what sort of music I was playing,” writes Nina in her 1991 autobiography I Put A Spell On You, “and tried to find a neat slot to file it away in. It was difficult for them because I was playing popular songs in a classical style with a classical piano technique influenced by cocktail jazz. On top of that I included spirituals and children’s song in my performances, and those sorts of songs were automatically identified with the folk movement. So, saying what sort of music I played gave the critics problems because there was something from everything in there, but it also meant I was appreciated across the board – by jazz, folk, pop and blues fans as well as admirers of classical music.” Clearly Nina Simone was not an artist who could be easily classified.

Nina’s Colpix recordings cemented her appeal to a nightclub based U.S. audience. Once she moved to Phillips, a division of Dutch owned Mercury Records, she was ready to expand her following globally. Her first LP for the label, 1964’s In Concert, signaled Nina’s undaunting stand for freedom and justice for all, stamping her irrevocably as a pioneer and inspirational leader in the U.S. Civil Rights Movement. Her own original “Mississippi Goddam” was banned throughout the South but such a response made no difference in Nina’s unyielding commitment to liberty; subsequent groundbreaking recordings for Philips like “Four Women” (recorded September 1965) and “Strange Fruit” continued to keep Nina in the forefront of the few performers willing to use music as a vehicle for social commentary and change. Such risks were seldom taken by artists during that time of such dramatic civil upheaval.

For years, Nina felt there was much about the way that she made her living that was less then appealing. One gets a sense of that in the following passage from I Put A Spell on You where she explains her initial reluctance to perform material that was tied to the Civil Rights Movement.

Contribute here to help us keep her legacy alive.

“Nightclubs were dirty, making records was dirty, popular music was dirty and to mix all that with politics seemed senseless and demeaning. And until songs like ‘Mississippi Goddam’ just burst out of me, I had musical problems as well. How can you take the memory of a man like [Civil Rights activist] Medgar Evers and reduce all that he was to three and a half minutes and a simple tune? That was the musical side of it I shied away from; I didn’t like ‘protest music’ because a lot of it was so simple and unimaginative it stripped the dignity away from the people it was trying to celebrate. But the Alabama church bombing and the murder of Medgar Evers stopped that argument and with ‘Mississippi Goddam,’ I realized there was no turning back.”

Nina was deeply affected by these two events. In 1962, she had befriended noted playwright Lorraine Hansberry and spoke often with her about the Civil Rights Movement. While she was moved by her conversations with Hansberry, it took the killing of Medgar Evers and the four girls in Birmingham to act as catalysts for a transformation of Nina’s career.

There were many sides to Nina Simone. Among her most amazing recordings were the original and so-soulful version “Don’t Let Me Be Misunderstood” and “I Put A Spell On You” (which had reached to #23 in the U.S. charts), eerily moody, unrestrained, drama to the max; “Ne Me Quitte Pas” tender, poignant, filled with melancholy; and with gospel-like fervor, the hypnotic voodoo of “See-Line Woman.” In her own unrivaled way, Nina also loved to venture into the more earthy side of life. After she signed with RCA Records in 1967 (a deal her then husband/manager Andy Stroud had negotiated), her very first recordings for the label included the saucy “Do I Move You?” and the undeniably sexual “I Want A Little Sugar In My Bowl” which were from the concept album entitled Nina Sings The Blues. Backed by a stellar cast of New York CIty session musicians, the album was far and away Nina’s most down-home recording session. By this time, Nina had become central to a circle of African American playwrights, poets, and writers all centered in Harlem along with the previously mentioned Lorraine Hansberry, James Baldwin and Langston Hughes. The outcome from one of the relationships became a highlight of the LP with the song “Backlash Blues,” a song that’s lyrics originated from the last poem Langston Hughes submitted for publication prior to his death in May, 1967 and gave to Nina.

wp-1486165108649.png

Nina’s seven years with RCA produced some remarkable recordings, ranging from two songs featured in the Broadway musical “Hair” (combined into a medley, “Ain’t Got No – I Got Life,” a #2 British hit in 1968) to a Simone-ified version of George Harrison’s “Here Comes The Sun,” which remained in Nina’s repertoire all the way through to her final performance in 2002. Along the way at RCA, songs penned by Bob Dylan (“Just Like A Woman”), the brothers Gibb (“To Love Somebody”), and Tina Turner (“Funkier Than A Mosquito’s Tweeter”) took pride of place alongside Nina’s own anthem of empowerment, the classic “To Be Young, Gifted, & Black,” a song written in memory of Nina’s good friend Lorraine Hansberry. The title of the song coming from a play Hansberry had been working on just prior to her death.

After Nina left RCA, she spent a good deal of the 1970’s and early 1980’s living in Liberia, Barbados, England, Belgium, France, Switzerland and The Netherlands. In 1978, for the first time since she left RCA, Nina was convinced by U.S. jazz veteran Creed Taylor to make an album for his CTI label. This would be her first new studio album in six years and she recorded it in Belgium with strings and background vocals cut in New York City. With the kind of “clean” sound that was a hallmark of CTI recordings, the Nina Simone album that emerged was simply brilliant. Nina herself would later claimed that she ”hated” the record but many fans strongly disagreed. With an eighteen piece string section conducted by David Mathews (known for his arrangements on James Brown’s records), the results were spectacular. The title track, Randy Newman’s evocative “Baltimore,” was an inspired Nina Simone choice. It had a beautifully constructed reggae-like beat and used some of the finest musicians producer Creed Taylor could find including Nina’s guitarist and music director, Al Schackman.

Contribute here to help us keep her legacy alive.

Aside from 1982’s Fodder On My Wings that Nina recorded for Carrere Records, two albums she made of the independent VPI label in Hollywood (Nina’s Back and Live And Kickin’) in 1985, and a 1987 Live At Vine Street set recorded for Verve, Nina Simone did not make another full length album until Elektra A&R executive Michael Alago persuaded her to record again. After much wining and dining, Nina finally signed on the dotted line. Elektra tapped producer Andre Fischer, noted conductor Jeremy Lubbock, and a trio of respected musicians to provide the suitable environment for this highly personal reading of “A Single Woman,” which became the centerpiece and title track for Nina Simone’s final full length album.

With two marriages behind her in 1993 she settled in Carry-le-Rout, near Aix-en-Provence in Southern France. She would continue to tour through the 1990’s and became very much ‘the single woman’ she sang about on her last label recording. She rarely traveled without an entourage, but if you were fortunate enough to get to know the woman behind the music you could glimpse the solitary soul that understood the pain of being misunderstood. It was one of Nina’s many abilities to comprehend the bittersweet qualities of life and then parlay them into a song that made her such an enduring and fascinating person.

In her autobiography, Nina Simone writes that her function as an artist is “…to make people feel on a deep level. It’s difficult to describe because it’s not something you can analyze; to get near what it’s about you have to play it. And when you’ve caught it, when you’ve got the audience hooked, you always know because it’s like electricity hanging in the air.” It was that very electricity that made her such an important artist to so many and it will be that electricity that continues to turn on new people all over the world for years to come.

Nina Simone died in her sleep at her home in Carry-le-Rout, Bouches-du-Rhone on April 21, 2003. Her funeral service was attended by Miriam Makeba, Patti Labelle, poet Sonia Sanchez, actor Ossie Davis and hundreds of others. Elton John sent a floral tribute with the message, “You were the greatest and I love you”. And the legacy continues…

Contributions by: David Nathan (RCA’s ‘Nina Simone Anthology’, ‘Simone On Simone’), Ed Ward & Richard Seidel (RCA/Legacy ‘To Be Free-The Nina Simone Story’), Rob Bowman (Jazz Icons), Aaron Overfield (L’hommage: Nina Simone), additional editing by Sarah Epler

Read more at: www.ninasimone.com

New Moon • New Mind

Magic In The Moon

New_Moon_Management

Just like the moon becomes invisible from the earth, a glimpse of its return is still present. Just like the invisible moon, your breath is an invisible power of deep moving significance.

The time of the new moon is a time to breathe in deeply and move into a calm state of mind. In this state, you can watch your emptions come and go and not be affected by them. This is the best time to gain clarity and begin to see your life more clearly, and see what is truly possible.

Now you can get “InTune” with your Higher Self. By staying calm, and letting your Higher Self fill you up with visions of your true purpose.

The power of the new moon is symbolic of new beginnings. You might find yourself contemplating on your next move. Conceptualizing your true motives. Building your dream team. Moving in spirit.

Anchoring Your Souls Code

Moon_Manifestion

Evoking your Soul purpose and why you are here on this Earth?

What did the ancestors send you here to accomplish?

How can you use this as your spiritual center of intent?

Creative Visualization

Let this time be a period for you to focus on creating EXACTLY what you want. Who you want to be involved with, how to get organized, and create the form of yourself for the betterment of humanity.

Getting intune with your Higher Self is supposed to make you feel open and magnetic.

You are supposed to feel magical.

Letting go of all spiritual tension by releasing your breath. Breating in deep and letting out your power to activate you whole being through the power of creative visualization.

When you find this breath, you bring harmony to the Higher Self and those who you come in contact with, thus anchoring the person you were born become.

So burn your favorite 7 day candel and prepare to make manifest your best self…



The InTune Mother Is About Intuitive Childbirth Empowerment

Here at The InTune Mother, we take on a holistic, spiritual, NON-MEDICAL approach to childbirth that empowers the mother and partner of the unborn baby from a communal standpoint.

If you find this article useful… Which we surely hope you do… Then say InTune to other information just like this and SUBSCRIBE HERE!



Want to schedule a FR*EE Coaching Session? REGISTER HERE! 

The InTune Mother is NOW offering intuitive consultations, creative workshops, and empowerment coaching using our proven methodology The BOSS Method. 



Copyright © 2016 The InTune Mother, LLC, All rights reserved.

NEED A RELIABLE DISCOUNT MEDICAL PLAN LET US HELP!

 

 

MELs (Men of Extraordinary Leadership): “A Knight In Shining Armor”

A man has endless opportunities to encounter elevation of  his being in a lifetime… The opportunity to completely involve himself ~from conception, through birth, and on into the life and creation of his families seed may very well be the most empowering and rewarding encounter! 

The time of birth is one of the most opportune times for a man and a woman to share creation that only the two of them together could have made. A time when seeing the physical manifestation of what you two can do together truly overshadows any indifference that you may have shared prior to or after this moment. A woman can look at her man and see the strength and security that he gives her; the protection she feels giving her reason for recreating him, eternal life that only she could grant her mate (THIS child). A man can look at his woman and see the magnanimity that a woman has when she is one with nature, a respect for the vessel that she was made to be in delivering life… the worlds greatest gift to them… creation!

Seeing your child born in the proper environment has the ability to make you view every woman you know and meet with a purpose for being… and raise the question of why doesn’t every couple or family get to feel this very super-heroesque empowerment that comes along with this experience. The answer to that is very complex, but also very simple. The evolution that comes with having children can make or break the strongest of spirits. I’ve seen the most irresponsible people become model parents once they paused the chaos and really divulged themselves into the change that was embarking on their lives and focused on the empowerment that creating life can provide one with. Unfortunately, I’ve seen the exact opposite a very strong spirit broken down and beaten because they fought against the change and wanted to hold on to their old selves in ways that conflicted even though they knew the value of what evolution of creating life can do for one’s being. Childbirth is probably the biggest life altering event that a person can go through, this is why when the village(family) is a strong unit the pregnancy and birth itself can yield a renewing  of spirit and soul that is almost impossible to duplicate. The most invigorated  of the family will of course be the creators ‘Mom and Dad’.

 

Creating life and contributing to the existence of our species is one of the highest forms of living in the image of ‘The Most High… God’ our creator that we can accomplish. ~ VoiceMEL

Mother Earth

 As the Father of all creation implants the seed of all that lives into Mother Earth, and watches the seed grow into whatever it was meant to become… on goes the existence of all living things on this planet (as well as I’m sure the universe  for that matter, but that’s to be con’t in a different blog…). This is the same exhilaration that parents should be able to become one with. As the males(MELs)  in this dynamic event it becomes our responsibility in a sense to make sure that this happens. The power that men have in the birth may not seem like much when thinking on it physically or even mentally by what history teaches us on our position or role in this process. In all actuality the typical role that the male has been given could not be more inaccurate from what helps the process of childbirth to be a beautiful memory/experience. The old school wait in the waiting room pacing the floor or the focal point of hate and frustration that the mother belittles and abuses with fault for doing this to her, is quickly becoming extinct. A great article that I recently read covered this subject matter extensively at belly belly.com … check it out!

 

Men are becoming more aware and knowledgeable about what their encouragement and support can mean to their women  when preparing for the birth and going through the whole process together. A woman will naturally feel a certain type of appreciation to the person who held their hand and encouraged them through surges or labour pains. Even the little things like giving ice chips or messages when and where they are needed can go a long way for the comfort of the mother… who better to be the recipient of her appreciation than her mate. Dr. Robert A. Bradley author of ” Husband-Coached Childbirth” creator of The Bradley Method of natural childbirth, was known for being one of (if not) the first physicians in a hospital to implement these tactics as he also introduced natural drug-free childbirth into the hospitals.  This type of good nature was not back then in the 70’s and still to this day of common practice, but the more knowledge that the family has the more power.

Like for instance, a father signs a form in the midst of all that lovely paperwork that is given to a family when having a baby at the hospital that says he will make the decisions in the delivery room because the mother will be in a delusional state of mind because of the drugs. In which of course she signs the form waiving her rights at that time as well. The part that makes this go bad is when the father is not made aware of all the power that he has in saying what happens and what doesn’t, usually due to the lack of education on the whole process of the birth. What I will say to solve these issues is study together and separately, gather all the knowledge you can about this process and make a birth plan… most of all stick to the plan.

Homebirthing was the option that allowed my family to be (without conflict) in control of our choices and carry-out our births as we planned them… 

It wasn’t a common practice at all in either of our families to birth at home, in fact barely anyone that we knew had ever even thought about doing it. After a few terrible Doctor visits with our first pregnancy and the research that we performed was at a confident level we made the homebirth decision and continued to build our ideal birth as we saw fit. The studying was  more driven by the Mrs of course, but I was all in willing to learn all that I could as well as share with her anything that I found would add value to our knowledge. We created our birth chamber together, went to the hypnobirthing classes together, all the midwife visits together, and really focused on the task at hand together… I wanted mine to know that I would be prepared to the fullest and that she could count on me the whole way for whatever she needed. This carried us on to be able to deliver our second and third sons without medical assistance( also another blog soon to come… Lol).

Preparation is the key, and men we have to know that the preparation is as much on us as it is on the woman… Making her assured of this and confident that you will be all the support and reassurance she needs before, during, and after the birth will set smooths sails going in and coming out… Be her knight in shining armor, now if no other time in life… and guaranteed  your family will reap the treasure of your acts.

superman