Over the past decade the substantial expansion of Mitchell’s discography has been defined as much by quality as quantity. The wide range of settings she has explored nonetheless has common denominators, and next to the blues is spoken word. (But it could be argued that spoken word is the blues, or the ‘talkin’ blues). The art of testifyin’ takes a step towards music, such is the richness of African-American speech rhythm and intonation. Mitchell’s collaboration with the distinguished poet Haki R. Madhubuti, borne of a residency at the Logan Center in Chicago a few years ago, is an entirely logical extension of her creativity. Mitchell’s Black Earth Ensemble, a fine group, notable for the presence of Tomeka Reid, Tomas Fujiwara and Harrison Bankhead among others, is customarily skilful and versatile. Hence the musical backdrop shifts from percussive Afro-latin momentum to tough funk backbeat to soaring gospel with just the right emphasis to reinforce Madhubuti’s soliloquies rather than overpower them, and the breathing space granted the texts, which are densely packed and stridently declaimed, is excellent. His ‘Liberation Narratives’, which are “an urgent call for all people, and particularly, Black People, to move quickly toward the questioning of their and our reality in a world moving toward environmental and physical extinction”, crackle with the vitality of the Amiri Baraka strain of African-American verse. Indeed, Madhubuti’s synergy with Mitchell is loosely comparable to that of Baraka’s with William Parker. Yet some of Madhubuti’s choice words are devastatingly relevant to both a post-Katrina and pre-Trump world: “If you can’t stop a hurricane be a hurricane.” Now, that is a lyric to go.