ME’SHELL NDEGÉOCELLO HAS been making music for more than 15 years,
though it has not always been successful on the pop charts. But this singer and
accomplished bassist, who grew up in D.C., continues to receive critical acclaim
for her innovative, genre-busting music.
Artists inspired by her work, which paved the way for the neo-soul movement,
include D’Angelo, Erykah Badu, Maxwell and, more recently, Jill Scott,
Bilal and India Arie.
On her newest album, “Comfort Woman,” Ndegéocello shows
off her sensual side with lyrics about love, sex and religion. Her songs feature
her signature socially conscious songwriting, which seem to imply that beyond
the joy of making love, all revolution starts in the bedroom.
Born in the late ’60s in Germany, Ndegéocello grew up in Washington
and started playing the D.C. club scene in the late ’80s with Little
Bennie and the Masters and Rare Essence. In 1990, she was awarded three “Wammies” (Washington
Area Music Awards).
Prince mentored Ndegéocello earlier in her career, and she signed with
Madonna’s Maverick label, which gave her plenty of artistic and creative
freedom.
In 1993, Ndegéocello released her debut album, “Plantation Lullaby,” which
critics embraced. It received four Grammy nominations. Subsequent albums included “Peace
Beyond Passion,” “Bitter” and “Cookie: The Anthropological
Mixtape.”
In a telephone interview from her home in Brooklyn, Ndegéocello recently
told the Blade that she is very satisfied with “Comfort Woman.”
“I am excited about this album,” she says. “But I have to admit
that I have already moved on to the next idea.”
THE NEW ALBUM is a radical departure from her previous hip-hop infused “Cookie,” which
was an uncompromising look at love, sex, race and politics. “Comfort
Woman” shows off a gentler Ndegéocello, with lyrics mostly inspired
by love, and musical arrangements reminiscent of
’60s psychedelic jazz,
reggae and soul.
“I guess I was inspired by love for life and love for a person when
I wrote this album,” the soft-spoken Ndegéocello says.
Though love may have been the inspiration, she refuses to answer questions
about her personal life and love interests. Once described as bisexual, she
says there is no word to describe her sexual orientation today.
“I am a polyamorous, water-based carbon life form,” Ndegéocello
says. “I find myself being able to enjoy sex with both sexes.”
The singer has mixed feelings about returning to Washington to play at the
9:30 club on Oct. 26. She is opening for Soulive and the 7:30 p.m. show is
sold out.
“I have a love-hate relationship with my hometown,” she says. “It
is not my favorite place to go. It is the place of government — that
makes it difficult for me.”
Politics do not interest Ndegéocello anymore. But music still does.
Recently, she collaborated on the debut album of New York-based Cuban hip-hop
band Yerba Buena, and contributes a song on an upcoming Dolly Parton tribute
CD.
“I like Dolly Parton a lot,” she says. “I think she is
an amazing lyricist and songwriter. She asked me personally, and I was more
than happy to participate.”
In January, Ndegéocello will be releasing “Papillon,” a
jazz record with singers Lalah Hathaway and Cassandra Wilson. “I hate
to put the label ‘jazz’ on it,” she says. “It is mostly
an instrumental, meditative record with a few guest vocalists.”
She enjoys many different types of music and still tries to avoid being identified
with one particular sound.
“No matter what musical type, it has the same DNA,” she says. “It
is all 12 notes on a scale. I just change the combinations a bit now and then.”
Oct. 30, 8 p.m.
Variety Playhouse
1099 Euclid Ave.
404-524-7354
Me’shell Ndegeocello
Maverick Records, 2003
www.meshell.com
