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Vocale jazz - Verschenen op 1 januari 1967 | Philips

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Hi-Res Audio
Perhaps a bit more conscious of contemporary soul trends than her previous Philips albums, this is still very characteristic of her mid-'60s work in its eclectic mix of jazz, pop, soul, and some blues and gospel. Hal Mooney directs some large band arrangements for the material on this LP without submerging Simone's essential strengths. The more serious and introspective material is more memorable than the good-natured pop selections here. The highlights are her energetic vocal rendition of the Oscar Brown/Nat Adderley composition "Work Song" and her spiritual composition "Come Ye," on which Simone's inspirational vocals are backed by nothing other than minimal percussion. © Richie Unterberger /TiVo
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Vocale jazz - Verschenen op 27 augustus 2013 | Bethlehem Records

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Vocale jazz - Verschenen op 17 januari 2006 | RCA - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Vocale jazz - Verschenen op 4 september 2009 | Parlophone UK

Onderscheidingen The Qobuz Ideal Discography
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Vocale jazz - Verschenen op 1 januari 1965 | Philips

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One of her most pop-oriented albums, but also one of her best and most consistent. Most of the songs feature dramatic, swinging large-band orchestration, with the accent on the brass and strings. Simone didn't write any of the material, turning to popular European songsmiths Charles Aznavour, Jacques Brel, and Anthony Newley, as well as her husband, Andy Stroud, and her guitarist, Rudy Stevenson, for bluesier fare. There are really fine tunes and interpretations, on which Simone gives an edge to the potentially fey pop songs, taking a sudden (but not uncharacteristic) break for a straight jazz instrumental with "Blues on Purpose." The title track, a jazzy string ballad version of the Screamin' Jay Hawkins classic, gave the Beatles the inspiration for the phrasing on the bridge of "Michelle." © Richie Unterberger /TiVo
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Vocale jazz - Verschenen op 5 januari 2013 | BDMUSIC

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An exception. A rebel. In short, a jazz singer light years away from the clichés of the jazz world. Nina Simone's art was, above all, an outcry; a glimmer of hope in an America plagued by segregation. Yumiko Hioki's superb comic strip perfectly captures the uniqueness of this great voice (and pianist). Unrivaled charisma is at the heart of the recordings that make up this exciting volume of the BD Music collection. The gems we're treated to here were recorded between 1957 and 1962, mainly for the Colpix label, a period during which Simone began to find a certain artistic freedom that matched her untameable personality. This freedom is most evident on her reinterpretations of blues, jazz and folk standards where she was already singing in a way different to everyone else; the Nina Simone way! © Marc Zisman/Qobuz
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Soul - Verschenen op 25 juni 2021 | BMG Rights Management (UK) Ltd

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Both jazz and classical music are often better on stage than in the studio, and Nina Simone bridged the gap between both of these art forms. One of Nina Simone's best albums, It Is Finished, is a live recording. And Montreux, here, a compilation of her previously-unpublished performances at the famous jazz festival, ranks alongside that earlier work in terms of quality. In it we hear segments from five concerts given on the shores of Lake Geneva, in 1968, 1976, 1981, 1987 and 1990, all of which enjoy excellent sound quality. 1968 saw the second outing of the festival and the beginning of a long relationship between Nina Simone and Montreux. This concert was previously only available on rare and expensive pressings, and this release allows us to hear Simone's great works from those days (from I Wish I Knew How It Would Feel to Be Free to Backlash Blues or See-Line Woman plus her cover of Ne me quitte pas) performed in a workmanlike but relaxed style. It was later, and most notably in 1976, that her music reached extremes, moving between a fresh breeze and a cathartic rampage. High priestess of soul, Nina Simone became a shaman, an enchantress who did what she wanted with music and audiences. From intimate ballads to trancelike Afro-Jazz, Simone reigns supreme, totally in command of her material. The tracks from 1990 show an artist tested by life's trials, with quite a different voice. She had lost confidence and power, but this fragility made her even more affecting. © Stéphane Deschamps / Qobuz
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Jazz - Verschenen op 9 oktober 2020 | RCA - Legacy

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Jazz - Verschenen op 13 juni 2000 | Verve Reissues

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Verve's Finest Hour collection of Nina Simone's work compiles 60 minutes of career highlights, including "Wild Is the Wind," "I Put a Spell on You," "Four Women," "I Loves You, Porgy," and "My Baby Just Cares for Me." Though it's by no means a definitive compilation of Simone's music, it does provide a welcome overview of her Verve years. © Heather Phares /TiVo
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Jazz - Verschenen op 19 juni 2015 | RCA - Legacy

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Soul - Verschenen op 19 februari 2021 | Rhino

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Jazz - Verschenen op 24 april 2012 | RCA - Legacy

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Soul - Verschenen op 19 mei 2003 | RCA Camden

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Jazz - Verschenen op 1 januari 1965 | Verve Reissues

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If this is blues, it's blues in the Billie Holiday sense, not the Muddy Waters one. This is one of Nina Simone's more subdued mid-'60s LPs, putting the emphasis on her piano rather than band arrangements. It's rather slanted toward torch-blues ballads like "Strange Fruit," "Trouble in Mind," Billie Holiday's own composition "Tell Me More and More and Then Some," and "Nobody Knows You When You're Down and Out." Simone's then-husband, Andy Stroud, wrote "Be My Husband," an effective adaptation of a traditional blues chant. By far the most impressive track is her frantic ten-minute rendition of the traditional "Sinnerman," an explosive tour de force that dwarfs everything else on the album. © Richie Unterberger /TiVo
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Vocale jazz - Verschenen op 18 juli 1995 | Epic - Associated - Legacy

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Jazz - Verschenen op 11 juli 1994 | Verve Reissues

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Jazz - Verschenen op 1 april 2013 | Wagram Music

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Jazz - Verschenen op 1 januari 1966 | Verve Reissues

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This album was apparently a bit of a pastiche of leftovers from sessions for Nina Simone's four previous albums on Philips. But you'd never guess from listening; the material is certainly as strong and consistent as it is on her other mid-'60s LPs. As is the case with most of her albums of the time, the selections are almost unnervingly diverse, ranging from jazz ballads to traditional folk tunes ("Black Is the Color of My True Love's Hair") to the near calypso of "Why Keep on Breaking My Heart" to the somber, almost chilling title track. Highlights are two outstanding pop-soul numbers written by the pre-disco Van McCoy ("Either Way I Lose," "Break Down and Let It All Out") and "Four Women," a string of searing vignettes about the hardships of four African-American women that ranks as one of Simone's finest compositions. © Richie Unterberger /TiVo
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Vocale jazz - Verschenen op 1 januari 1964 | Philips

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For her arrival to Philips, the label that would represent her between 1964 and 1967, Nina Simone started with a live recording from Carnegie Hall. One year before, she had already recorded a performance on the very same legendary stage. However in the time that had elapsed, her status had changed and the singer had become a figurehead for the Civil Rights movement. Indeed, on the tracklist are Old Jim Crow, Pirate Jenny, Go Limp and especially Mississippi Goddam, a hugely important song which closes this album and refers to the murder of Medgar Evers (an activist killed by a Ku Klux Klan member on June 12th 1963) as well as the attack on the 16th Street Baptist Church (also carried out by KKK members and which claimed the lives of four young girls on September 15th 1963). Supported by an impeccable trio (Rudy Stevenson on the guitar, Lisle Atkinson on the double bass and Bobby Hamilton on drums), who create a refined and almost understated backing score, Nina Simone is out to shock the audience’s ears by being herself to the utmost: chanting, being outraged, imploring, confronting, reflecting, engaging, and ultimately trying to understand the madness of humankind. She allows her unique self to shine through on this album more than any others from the same era. This powerful vocal force cuts through to the soul every time and stands out differently to Billie, Ella and Sarah. With In Concert, suffering and freedom resound together in unison with a great power, something rarely seen elsewhere. © Marc Zisman/Qobuz
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Jazz - Verschenen op 3 november 2014 | BnF Collection

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Nina Simone in het magazine
  • Nina Simone turning up the pressure...
    Nina Simone turning up the pressure... Recorded on stage at Carnegie Hall in 1964, this "In Concert" has been re-released in Hi-Res 24 Bit quality. In 2020 it resounds just as powerfully as it did back then.