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Singer Laura Mvula visits New York to explore the Nina Simone songs that mean most to her.
Another reminder of how Nina Simone had everything as in absolutely everything music and character wise.
Odd thoughts go through the mind like wondering whether to ditch half the personal record collection so as to replace it with all that she recorded and what place she should have in the list of priority people if science ever sufficiently develops to bring back people from the dead. I reckon somewhere in the region of top five.
Laura Mvula did a pretty good job in this programme - I had perhaps too readily dismissed her and will now explore her recording outputs properly - and there was an unusually strong - and relevant - selection of interviewees/people to sing along with. But it could have been longer. I'd have happily have had three hours of it.
Yep - caught the end of this programme, which I think wasn't a repeat of an earlier one she did on Simone, which I saw in its entirety? Laura Mvula's a fine deep-toned singer in her genre, and has a most winning personality as presenter. I'd like to hear her go head-to-head with Jumoké Fashiola, presenting J to Z.
Yep - caught the end of this programme, which I think wasn't a repeat of an earlier one she did on Simone, which I saw in its entirety? Laura Mvula's a fine deep-toned singer in her genre, and has a most winning personality as presenter. I'd like to hear her go head-to-head with Jumoké Fashiola, presenting J to Z.
It was first aired in 2015 but she may have done other programmes on Simone. Having briefly viewed a few Mvula clips since the programme, I can see why I had a different opinion of her. Ok - she is perhaps to jazz what Angelique Kidjo is to WM and I guess there is a need to appeal to younger audiences - but I much prefer her on Simone style songs. Obviously Simone had impeccable taste in the material she chose. I was very taken by LM on "Little Girl Blue" which apparently was used for "12 Years a Slave". I very much liked the brand of gospel in the programme in which she took part. And I thought Al Shackman was fairly heroic here both as an accompanist and an interviewee. I completely agree with you on J to Z.
So you're a fan of Nina Simone, Lat. I'm sure you know this cache of jewels from 1961, but I did not discover it until quite recently, though I did find my personal No1 earlier as a single video on youtube and posted it here in awe some years ago - it's her version of For All We Know, and it's about 17 mts in. Yes, I'm a fan.
Official Audio (Live) for "Mr. Bojangles" by Nina SimoneListen to Nina Simone: https://NinaSimone.lnk.to/listenYDSubscribe to the official Nina Simone YouTub...
Louis Armstrong & His Hot Five play “Hotter Than That” on Okeh 8535, recorded on December 13, 1927. Louis Armstrong is on cornet and provides the vocal.Kid O...
Louis Armstrong, nació el 4 de agosto de 1900 en New Orleáns (Louisiana) en el seno de una familia muy pobre y en uno de los barrios marginales de aquélla ci...
‘Tenor Madness’
Sonny Rollins with John Coltrane, Red Garland, Paul Chambers & Philly Joe Jones
Prestige Records (1956)
I've always felt both front line players were at too early a stage in their respective developments for this to have been the success it might have been had they delayed it by, say, 6 years - at which time Sonny was coming out of his Erensburg Bridge woodshedding period, and recording "The Bridge", and 'Trane his first famous Village Vanguard sets. Both were "in transition" and might have profitted creatively from such an onstage interchange. Instead of which, Coltrane pushed ahead singlemindedly within his own terms and Rollins chose to cut whatever losses he might have incurred in his hard-won acquisitions by going free, and remained within the changes.
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