“I enjoy to be free of definition” – Meshell Ndegeocello talks about her debut Blue Note album, The Omnichord Real Book

One of the key musical adventurer-eclectics of the last three decades, Meshell Ndegeocello remains pleasingly difficult to second guess. The explosive funk of her 1993 debut Plantation Lullabies may seem like a distant echo but it is now increasingly clear that it only represented one of many aspects of an artistic character that has not stopped growing amid distinct changes of context. What is perhaps as important as the eclecticism is the blending of production and performance.

As this new work, a Blue Note debut no less, shows, the bass player-composer-singer-commentator is now at a place in her development where she can make a studio sound that has a kind of sculpted, digitally mapped quality cohere with the irreplaceable flesh and blood of bluesy guitar picking or fatback drums.

Moreover, she excels in taking the relaxed yet fraught ambiance of low or mid-tempo tunes and weaving in successive layers of energy, to reach a peak by stealth. Yet ‘Vuma’, a scintillating foray into Afro-funk, serves taking the relaxed yet fraught ambiance of low or mid-tempo tunes and weaving in successive layers of energy, to reach a peak by stealth.

Last but not least, Ndegeocello chooses her words with great care throughout the album, often expressing humility amid emotional enquiry, asking us to ponder ego and excess and think about what it may mean to ‘watch and wait in humble love.’

Kevin Le Gendre spoke to Meshell Ndegeocello about the album

KLG It’s an intriguing title. Real Book is a major part of jazz history but it’s not usually conjoined to Omnichord. How did you come up with this new term? 

MN “A product of the imagination during Covid. I wrote a lot of songs on my Omnichord during those first six months, and I liked the idea of creating new standards. The Real Book is also a fixture of my youth and is for the benefit of everyone and my Omnichord feels like something that was really just for me at that moment.

KLG The list of guest musicians is extensive and eclectic and includes Jason Moran, Ambrose Akinmusire, Brandee Younger, Julius Rodriguez, Mark Guiliana, Cory Henry, Joan As Police Woman... What do you look for in collaborators?

MN “Invention. Imagination. Openness.”

KLG Yet there are longstanding musical relationships too – Chris Bruce, Jebin Bruni and Abraham Rounds. Do you feel you have a nucleus of players that helps create continuity between various projects? 

MN “I do have a nucleus of players but not so much for the sake of continuity. They are the nucleus because of how our musical voices work together, the variety of our sensibilities and the common goal of finding freedom and fellowship in the music.”

KLG Did you always want to be ‘free from genre’ even though you draw on many genres? Or maybe it’s the song that turns in whatever form is appropriate? 

MN “I just never think about genre. I don’t believe in them, they’re there for marketing or something, I wouldn’t know. I enjoy to be free of definition in all parts of my life but music especially… not because I want to be contrarian, just seems like it is beside the point or opposite the point or just not even related to the point of playing music.

 KLG There is a very interesting blend of playing and electronics on many songs. Have you always thought of the studio as an instrument? 

MN “Yes! David Gamson taught me about that.”

KLG You did the artwork for the sleeve. Is this a new venture? 

MN “It’s a new way to express myself but so far there’s no venture. I enjoy it.”

KLG What has led you to ‘watch and wait in humble love’?  

MN “It brings me the most peace.”

The Omnichord Real Book is released on 16 June on Blue Note – watch the video for ‘Clear Water’ below and for more info visit meshellndegeocello.lnk.to/TheOmnichordRealBook