Nina Simone’s years celebrated with vinyl album remasters

ninaFrom 1964 to 1967, the extraordinary Nina Simone released seven albums on Philips Records, further establishing her peerless artistic expression and singular voice. During this exceptional purple patch, she recorded some of her best and most important work of her career, much of it fuelled by the Civil Rights Movement and the turmoil of 1960s America. In conjunction with their 60th anniversary this year, Verve will celebrate the genius of Simone, the supernaturally gifted singer, pianist and prolific songwriter, and her incredible mid-’60s run with the release of her entire Philips catalog on vinyl.
Released earlier this summer as a box set titled The Philips Years, the seven LPs — Nina Simone in Concert (’64), Broadway-Blues-Ballads (’64), I Put a Spell on You (’65), Pastel Blues (’65), Let It All Out (’66), Wild Is the Wind (’66) and High Priestess of Soul (’67) — will be available individually on Friday, Sept. 30 on heavyweight 180 gram vinyl in facsimiles of the original sleeve art. The vinyl masters for the long-out-of-print titles were cut at Abbey Road using high-resolution audio transfers direct from the analog master tapes and are all in stereo. This marks the first time that Broadway-Blues-Ballads and Let It All Out have been made available on vinyl since their original release. A celebration of Simone’s remarkable talents, these albums contain many of the songs that Simone’s legacy is built upon not only such well-known cuts as “I Put a Spell on You” and “Feeling Good,” but also “Wild Is the Wind,” a song that David Bowie would memorably cover, and Simone’s version of Billie Holiday’s “Strange Fruit.”
Since her death in 2003, Simone’s influence, significance and cultural relevance has only grown, especially most recently as issues of race, police brutality and civil rights are once again at the forefront of the cultural conversation. The Netflix feature documentary, What Happened, Miss Simone? — which just won the 2016 Emmy for Outstanding Documentary this month — has helped shine a new light on Simone’s immense talents and fearless activism, resulting in a new generation discovering her timeless music and indelible impact. Of her Philips years, NPR drew parallels to the present: “In a time when issues of race and gender are reverberating with a newfound volatility reminiscent of the 1960s — the decade in which Simone forged her reputation as a politically provocative entertainer — Nina’s concerts and recordings feel like urgent bulletins from a brooding heart and a troubled land.”
In 1964, Simone embarked on a new stage of her career. Her rejection by the Philadelphia-based Curtis Institute of Music; time spent as a pianist in an Atlantic City nightclub; her jazz, gospel, pop and classical influences — all these had fused to make her one of the most complex, fascinating and talented artists of the decade. Simone released her debut album in 1958, but when she signed to Philips in 1964 at the age of 31, her creative output was about to dovetail with the Civil Rights movement — notably coinciding with the Civil Rights Act Of 1964, which outlawed discrimination based on race, color, gender, religious affiliation or nationality. It’s fitting, then, that the first album she released on Philips, 1964’s Nina Simone in Concert, captured some of Simone’s most committed Civil Rights-era material, including her explosive rendition of “Mississippi Goddam.” But this three-year period also saw her satisfy her relentlessly questing muse, with collections that focused on Broadway showtunes (Broadway-Blues-Ballads), pop material (I Put A Spell on You) and more, showing the full range of Simone’s talents.

Graveface Records’ Xiu Xiu announces Nina Simone covers album “NINA”

NINA-Xiu-Xiu-cover-artWith an artist as wide-ranging and prolific as Xiu Xiu‘s Jamie Stewart, it can be hard to put into words what, exactly, his music sounds like. But when it comes to Stewart’s forthcoming NINA, he certainly doesn’t sound like himself.
NINA is a thank-you note, a love letter and a kind of musical fan-fic for the late icon Nina Simone. This being Xiu Xiu, of course, Stewart’s tribute album is far from a collection of straight covers. Rather, he and long-time collaborator Ches Smith — “the only person I know who could understand this in his heart and also handle the technical side of fearlessly reorienting such wonderful music” — bring Simone into focus through their own avant-dark lens.
“The idea came being back stage in Austin, Texas, opening for Swans and feeling like I did not play well,” Stewart explains in a news release. The night before, he and Swans’ Michael Gira had discussed Simone, their love both for her talent as a musician and her fearlessness as a civil rights activist, and how Simone inspired them to make better work. Feeling down on himself, yet inspired both by the memory of Simone and the “epic and beautiful persistence” of Gira and Swans, Stewart decided to honor Simone and challenge himself in making NINA.
To that end, NINA was recorded in just one day, all in first or second takes. In doing so, Stewart captured the immediacy of the feelings that inspired the record, but it was also a practical decision. Stewart is a busy man. In the next year alone he has a new full-length Xiu Xiu record coming out, along with other planned releases, and an event with conceptual artist Danh Vo at Milwaukee’s Walker Arts Center in October. Last month, he wrapped up another performance, “Dark Materials,” with visual artist Monika Grzymala and choreographer Jeremy Wade at Hamburg’s Internationales Sommerfestival and he’s also been busy touring with Swans and working with Eugene Robinson from Oxbow on their side project, Sal Mineo.