Rolling Stone - 6/26/03, p.824 stars out of 5
- "...Complex music in the key of bittersweet..."
JazzTimes - 8/03, p.131
"...She recorded what she wanted, how she wanted, when she wanted....She was simultaneously jazz, folk, blues and gospel. The lines crossed and blurred....As a storyteller, she rivaled Carmen McRae and Sarah Vaughan..."
FOUR WOMEN: THE NINA SIMONE PHILLIPS RECORDINGS contains 7 LPs on 4 CDs: NINA SIMONE IN CONCERT (1964)/BROADWAY-BLUES-BALLADS (1964)/I PUT A SPELL ON YOU (1965)/PASTEL BLUES (1965)/LET IT ALL OUT (1965)/WILD IS THE WIND (1965)/HIGH PRIESTESS OF SOUL (1966).
Personnel includes: Nina Simone (vocals, piano); Rudy Stevenson (guitar); Lisle Atkinson (bass, percussion); Bobby Hamilton (drums).
Producer: Hal Mooney.
Compilation producer: Bryan Koniarz.
Recorded between 1964 & 1966. Includes liner notes by Ashley Kahn.
FOUR WOMEN was nominated for the 2004 Grammy Award for Best Album Notes.
Personnel: Nina Simone (vocals, piano); Rudy Stevenson (guitar, flute); Al Schackman (guitar, harmonica); Bobby Hamilton (drums); Lisle Atkinson (percussion).
Liner Note Author: Ashley Kahn.
Recording information: New York, NY (03/21/1964-08/26/1966).
Photographers: Peter Basch; Burt Goldblatt; Herb Snitzer; Jan Persson.
Arrangers: Hal Mooney; Horace Ott; Nina Simone.
Although Nina Simone's years at RCA have their passionate devotees, most fans believe her mid-'60s tenure at Philips was the pinnacle of her career. Indeed, her first album for the label, 1964's still-startling NINA SIMONE IN CONCERT, is probably Simone's single finest album of all time, introducing such masterpieces as her chilling reinterpretation of Kurt Weill's "Pirate Jenny" and the anti-segregation broadside "Mississippi Goddam," which she delivers with absolutely brutal humor. The six studio albums that followed are all included in full, and each of them continues Simone's no-boundaries musical worldview (one album was called BROADWAY-BLUES-BALLADS, and she cut the occasional pop song, like her dramatic remake of the Animals' "Don't Let Me Be Misunderstood"), her increasingly socio-political choices of material, and above all, her absolute mastery of the jazz vocal form. Beautifully packaged and extensively annotated, this four-disc set is a perfect overview of some of the '60s' finest and most uncompromising vocal jazz.