Few artists are as tough to pin down as
Meshell Ndegeocello
. Throughout her career she has continually thwarted attempts by industry forces who would attempt to define her. She's a master bassist and a poignant, restless songwriter.
Pour Une Ame Souveraine
is a collection of songs associated with or written by
Nina Simone
. It stands in sharp contrast to 2011's
Weather
, a stripped-down meditation on love's difficulties, disappointments, and endurance.
, was co-produced by
Ndegeocello
and guitarist
Chris Bruce
. They, along with
Deantoni Parks
on drums and
Jebin Bruni
on keyboards, account for most of the music-making here.
's voice and bass are central, though she enlists a handful of guest vocalists who add a mercurial dimension to these sometimes startling proceedings.
doesn't try to re-create
Simone
's performances or merely pay tribute. Instead, she invokes her pioneering spirit.
tried to present her own totality and complexity in each song she wrote and performed.
adds layers of not only complexity, but also ambiguity to her own identity as she celebrates her subject's pioneering spirit. Highlights include a startling read of
's stellar "Feelin' Good."
gets at the root of what is inferred in the tune, not declared in its title: ambivalence. Her interpretation reveals the title as an unanswered question. Her version of
Leonard Cohen
's "Suzanne" contains double-timed drums, slippery electric guitars, a pronounced bassline, and sprightly piano; it's a love song whose perspective implies direct experience with the subject, instead of an homage to the object of its lyrics.
Toshi Reagon
's appearance on "House of the Rising Sun" is drenched in soul atop driving, funky rock & roll. While the waltz time of "Don't Take All Night" remains the same,
Sinead O'Connor
guides it as a sad country tune instead of a souled-out blues.
Lizz Wright
's voice in front of "Nobody's Fault But Mine" is a moaning, gospel blues."See Line Woman" is a skittering, syncopated jazz with
's funky bassline contrasted with a swooping flute.
Tracy Wannomae
's vocal keeps the brooding quality of the original, but it's inside a spooky jazz-funk number with skittering tom-toms and snares.
Chesnutt
's "To Be Young, Gifted and Black," written for
by
Weldon Irvine
, is lovely yet curious because it's a cut that
may have easily -- and convincingly -- claimed for herself. She does own "Black Is the Color Of My True Love's Hair," with its broken beat drums, reverbed electric guitar, and sensual, spooky keyboards.
is the best kind of dedication to
: it invokes her inspiration rather than attempting to re-create her character. ~ Thom Jurek