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.
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.
Comment continuer à exercer la sartrologie dans un milieu spécialisé de plus en plus dominé par la sartrolâtrie ? Ingrid Galster ne doit même plus de poser la question. Professeur à l'université de Paderborn, experte notamment de la réception des pièces de Jean-Paul Sartre sous l'Occupation et de l'impact de l'oeuvre de Simone de Beauvoir, elle a été récemment mise au ban par les gardiens du temple pour avoir osé ébrécher la statue …
DBR takes his classical roots, stands them on their ends, and injects hip-hop, electronics, scratching, hard rock and more personality than you could ever imagine. "It’s an attempt to honor not only the first and second Viennese schools of Europe, but to pay tribute to the Bronx and the waves of inventions that that music sent to us," explains DBR. The Washington Post raved, “The music was involving, tonal and eminently accessible, steeped in the wash-rinse-repeat cycle of minimalism but sexed up considerably with hip-hop rhythms, jazz riffs and imaginative collaboration.” (Yes, it is complex and accessible, and that's a rare combination. And as a cellist he's not using cleavage and make-up to stand out…)