Nina Simone: The musician above Good and Devil

When exploring the realm of the greatest jazz singers and artists of the last century, Nina Simone consistently emerges as one of the best singers of the last century

However, as a professional musician, it becomes inevitable to confront certain nuances in her performance, such as occasional moments of an unpleasant tone, instances where she seems “out of pitch,” or the noticeable cracks in her voice between registers.

Remarkably, Simone’s vocal range is notably confined, typically spanning only around one octave for melodies within the 3rd and 4th octaves. Consequently, she frequently transposes her primary songs into merely four key signatures (1).

Moreover, she predominantly utilizes her chest voice, expressing her singing solely through her “speaking tone.” So, the question arises:

how can she be hailed as one of the best singers ever?

The answer becomes clear in her numerous interviews where she elucidates that her primary focus is channeling all her energy into transmitting emotions to the audience through her voice, irrespective of concerns about the technicalities of her singing tone.

In a particular interview, she delves even deeper, defining her performances as an “intelligent delivery of emotions.”

In LaShonda Barnett’s book, “I Got Thunder: Black Women Songwriters on Their Craft,” Simone emphasizes the importance of connecting with the audience emotionally.

Whether singing a protest song or something intimate, she desires the audience to truly feel and understand the emotions she seeks to convey. While meticulous about the perfection of her piano playing and articulating the song’s message, she expresses a lack of worry about her voice itself (2).

Further illuminating Simone’s intensity, her deep connection with the audience during performances is evident. If met with any form of refusal or disrespect, she was known to react strongly — shouting, storming off stage, throwing tantrums, or sitting in silence until the audience obliged.

If you think I am kidding about it, please check out this video:

These facts collectively portray her as :

“that type of artist,” one who transcends conventional judgments of good and evil in the artistic realm.

To be candid, I appreciate her performances and recordings. I cherish the moments when she introduces a bit of sourness to her tone (acknowledging that it’s not a constant occurrence, :P), and I relish the instances when her voice cracks. This appreciation stems from her unparalleled ability to transmit emotions through her piano playing, arrangements, and singing, reaching beyond earthly standards.

For me, Nina Simone epitomizes the artist deeply connected with the true ardor of music, prompting reflection on the relevance of perfectionism when engaged in the authentic artistic expression of emotions in music.

(1) Singing Carrots — Nina Simone

Even though Singing Carrots defines her octaves at 3.5, upon closer examination of her songs, they predominantly fall within the 3rd to 4th octave range, occasionally extending into the lower octave of contraalto, with added little notes either higher or lower. Her key signatures usually revolve around G, B, Bb, and A in her main songs, though exceptions may exist due to live performances (1).

(2) LaShonda Katrice Barnett, “I Got Thunder: Black Women Songwriters on Their Craft,” p. 150.

(3) Dazed Digital — Nina Simone’s complex voice

(4) K-State Libraries — Nina Simone: A Study of Her Life and Music