10 September 1933 – 19 February 2019
Remixing is all well and good, modernizing old things for young ears, but some works need no help. Some works are already so modern in their drive and immediacy that it’s like there’s no such thing as changing times. Nina Simone, of course, almost singlehandedly kept jazz music relevant in the 1960’s, when the rock’n’roll youthquake was sweeping away everything minted before 1963. The reputation jazz had acquired for being pompous and louche and the domain of squares who still wore suits and strings of pearls – Nina Simone swept that aside, showing how fierce and subversive jazz could be, how deeply political and historically significant. She tied her music to her political activism, and to her personal struggles as a mentally ill black woman artist trying to make it in unforgiving America. Sinnerman is one of her best known works, a masterpiece in sustained emotional force. It is also, importantly, a traditional Negro spiritual rooted all the way back to times of slavery, grown into a gospel standard during Simone’s childhood, and rearranged as a jazz number in the 50’s. It is in no way ironic that a 1965 recording of a song with a history that may stretch back centuries sounds so unbound by time; things that are deeply important don’t get withered by small things like changing trends.