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Music CD - Nina Simone: Nina Simone at the Village Gate
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Music CD: Nina Simone at the Village Gate
Artist: Nina Simone
List Price: $11.98
Our Price: $6.73
Your Save: $ 5.25 ( 44% )
Availability: Usually ships in 24 hours
Manufacturer: Blue Note Records
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Average Customer Rating: 
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Tracks:
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1. Just In Time
2. He Was Good To Me
3. House Of The Rising Sun
4. Bye Bye Blackbird
5. Brown Baby
6. Zungo
7. If He Changed My Name
8. Children Go Where I Send You
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Binding: Audio CD
EAN: 0077779505821
Format: Live
Label: Blue Note Records
Manufacturer: Blue Note Records
Number Of Discs: 1
Publisher: Blue Note Records
Release Date: 1991-07-16
Studio: Blue Note Records
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Spotlight customer reviews:
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Customer Rating:
Summary: Classic live performance by one of the jazz world's great singer/pianists.
Comment: Recorded in 1961, at the Village Gate, when Nina Simone, at age twenty-eight, was finding great success and popularity through her recordings on Colpix Records, this live performance beautifully recreates the mood and atmosphere of a Nina Simone concert. A performer with talents in many directions--and a classical background in piano, which she studied at Juilliard School of Music--Simone shows off her skills brilliantly in this CD, which never seems to repeat the same kind of music twice.
In the finger-popping "Just in Time," she begins almost in a monotone, singing the melody against a bass, but then picks up the tempo and introduces into a sparkling piano treatment, her own arrangement. The ballad "He Was Too Good For Me," a slow lament of a lost love, is followed by "House of the Rising Sun," a folk song familiar to audiences worldwide now, but new at the time--sung as funky blues with a strong guitar and bass beat.
"Bye Bye Blackbird" is unique on the CD--an 8:12 minute jam session with no vocal. Simone on piano, and her guitarist, Al Shackman, provide a musical statement and then echo for two minutes, with drums, cymbals, and a more upbeat piano following. Filled with variations on the familiar theme, the track ends with a grand finale of classical jazz. "Brown Baby," a "freedom song" recorded in the days before Freedom Rides and the death of Martin Luther King, is a powerful assertion, which ends in a wail. "Zungo," which follows appropriately, is an African inspired number with drum accompaniment.
The highlight of the CD for me was "Children, Go Where I Send You," a revival song so full of energy that it will have you ready to leap through your speakers to "witness" along with Simone. Simone had complete artistic control at Colpix, and it shows here. The CD is beautifully paced and offers a great deal of variety, and Simone wisely keeps her accompaniment to a minimum. A terrific CD! n Mary Whipple
Anthology
The Very Best Of Nina Simone, 1967-1972 : Sugar In My Bowl
Nina Simone - Live at Montreux 1976
Nina: The Essential Nina Simone
Nina Simone's Finest Hour
Customer Rating:
Summary: Nina: haunting vocalist & awesome jazz pianist
Comment: This is one of Nina's best and there are many of high quality. On this album and the "At Town Hall" albums you get wonderful piano improvisations that mix jazz and classical techniques. Her version of "Just in Time" is one of the best I have ever heard. She owns it! She takes traditional African American material like "Children Go Where I Send You",from the 19th century and reinvents it in the context of the golden age of jazz circa 1950s through 1960s. She is an expert at building tension and release with dramatic flare and autheticity. Most of the songs on this album got plenty of airplay on jazz stations during the 60s. It's a sure bet to have frequent spins on you CD player.
Customer Rating: 
Summary: Nina Simone at the Village Gate
Comment: I like the CD. However,I was disappointed that there was a different arrangement of 'Just in Time' on the CD. I was really looking for the arrangement that was used at the end of the movie 'Before Sunset.' As with everything that Nina does, it was otherwise great.
Customer Rating:
Summary: A Signpost of American Music
Comment: In reviewing Nina Simone's 1982 disc re-released earlier this year, "Fodder On My WIngs", I said that earlier Nina Simone fills the bill better. This disc is one of the ones I'm talking about. It fills the bill compared to anything; it truly is a classic.
Recorded live at The Village Gate in 1961, this album was a harbinger of many things to come, and a showpiece for Nina Simone's versatility and virtuosity.
Consider her versions of "If He Changed My Name" and "House of the Rising Sun", later made more famous by Roberta Flack and Eric Burdon but undeniably inspired by Ms. Simone. She tells the audience that "Sun" is a folk song and she performs it that way, quietly, with the tinge of shame and guilt that the words of the song imply.
Or consider "Brown Baby." Here she sings of self-affirmation and "Black pride"--before the word "Black" was fashionable, and before Martin Luther King, James Meredith, Medger Evers and Bull Connor had wended their ways into national consciousness. She didn't just inspire an artist or two here: she helped to inspire a movement.
Or consider "Bye Bye Blackbird": No vocals here, just piano with the trio of Al Shackman (g), Chris White (b) and Rob Hamilton (d). They turn this standard into a cross between Dixieland, Bach and Thelonious Monk. It confirms that Ms. Simone was one of the best pianist-chanteusses ever.
And then consider the last cut and the album's highlight, "Children Go Where I Send You." At the beginning, Ms. Simone says to the audience, "Y'all ever been to a revival? You don't know what I'm talkin' 'bout, do ya? Well, you in one now!" And so we are. I can't remember ever hearing a tune that compelled me to sing along--in riffing, scatting harmonies--the first time. And the second, third and fourth times, too. This song lifts you out of your seat; you may not want to drive your car while playing this!
My only complaint with the album is that the piano is out of tune. But maybe that's not such a bad thing. I'm sure that when Alan Lomax recorded Leadbelly, Blind Lemon Jefferson and the like, their guitars weren't perfectly in tune, either. But what got put on celluloid was an American classic nevertheless. And so is this one. A signpost of American music and America of the early '60's, this album should be in the Smithsonian--and your c.d. collection as well. RC
Customer Rating:
Summary: The Incomparable Nina Makes Pure Magic!
Comment: In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961. She sang and played with a trio, which featured her favorite guitarist, Al Shackman. We are so fortunate that the moment was captured and recorded. This is by far my favorite collection of Ms. Simone's music.I can't really categorize Nina's sound or her music and call her "just" a fabulous jazz vocalist. Although, she plays extraordinary jazz with her voice, as in "Just In Time." She has been often called a musical anomaly, because there is no one category for her work. She was trained as a classical pianist, and in cuts like "Bye Bye Blackbird," the complexity of her piano comes through loud and clear. Her folk songs, like the biting "House Of The Rising Sun," and "Zungo" an African work song, place her at the top of a long list of folk singers. Ms. Simone's gospel songs, i.e., "Children Go Where I Send You," can raise the roof and bring down the house, as she did at the Gate in '61. She is a protest singer, "Brown Baby," and an actress, capable of an extraordinary range of emotions. Nina has the rare ability to dig into her material and bring unexpected meaning to familiar lyrics. She is eclectic with her taste and her repertoire. But whatever touches Nina, and whatever Nina touches, will reach you and evoke an emotional response. Her music is as fresh today, as it was 42 years ago, singing for that Manhattan audience. They could not have loved her more then, than we do now.
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Editorial Reviews:
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Nina Simone recorded for Columbia Pictures adjunct Colpix records from 1959 through 1964, cutting 10 records for the imprint. Five of her Colpix records were concert recordings, a setting that suits her idiosyncrasies while protecting her from overproduction, and one she's returned to frequently. At the Village Gate captures a particularly intimate 1961 performance and stands as the cream of her live collections. Backed by a trio that includes her favorite sideman, guitarist Al Shackman, Simone ranges from the yearning "He Was Too Good to Me" to a sprightly eight-minute-plus version of "Bye Bye Blackbird" that displays her underrated keyboard skills. This is the kind of album that ages like a fine merlot. --Steven Stolder
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