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Home >> Nina Simone >> Baltimore

Nina Simone

Click on tracks to hear sound samples.

1. Baltimore (4:39)

2. Everything Must Change (3:58)

3. The Family (4:58)
4. My Father (4:54)

5. Music For Lovers (3:41)
6. Rich Girl (3:11)
7. That's All I Want From You (2:52)
8. Forget (2:54)
9. Balm In Gilead (2:24)
10. If You Pray Right (3:18)

During the "Baltimore" recording sessions, Nina and I stayed at the Brussels' Hilton in Belgium. In order to reach the studio, we had to cross the Waterloo Bridge. I reminded Nina that this was the famous bridge where Napoleon "met his Waterloo." I felt an omen about the bridge that would bring us good luck at the recording sessions. In any case, we crossed this bridge five times. Each trip brought back some great Nina performances. The studio itself was an old stone barn that had been converted into a recording studio. Story was that Napoleon's troops had actually hidden out in this barn.

Baltimore

Nina Simone, Vocal, Keyboard
David Matthews, Piano
Al Schackman, Piano, Tambourine
Jim Madison, Drums
Andy Newmark, Drums
Nicky Marrero, Percussion
Jerry Friedman, Guitar
Eric Gale, Guitar
Max Ellen, Violin
Barry Finclair, Violin
Harry Glickman, Violin
Charles Libove, Violin
Harry Lookofsky, Violin
Marvin Morgenstern, Violin
David Nadien, Violin
Herbert Sorkin, Violin
Richard Sortomme, Violin
Lamar Alsop, Viola
Alfred Brown, Viola
Emanuel Vardi, Viola
Jonathan Abramowitz, Cello
Charles McCracken, Cello
Alan Shulman, Cello
John Beal, String Bass
Charles Israels, String Bass
Homer Mensch, String Bass
Joshie Armstead, Background Vocal
Alberine Robinson, Background Vocal
Maeretha Stewart, Background Vocal
Babi Floyd, Background Vocal
Frank Floyd, Background Vocal
Milt Grayson, Background Vocal
Ray Simpson, Background Vocal

Arranged and Conducted by Dave Matthews

Produced by Creed Taylor

Recorded at Studio Katy
Brussels, Belgium
David Palmer, Engineer
Recorded January, 1978

Catalog Number: ZK 57906
Format: CD
Release Date: 1995
Label: CTI/Sony

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Producer's Note
I attended a Nina Simone concert at the Drury Lane Theatre in London in December, 1977. Nina played and sang to an ecstatic, packed house. It was clearly evident why her concerts have always been regarded by critics and audiences as an “experience.” A month later, I went to Brussels to produce this Nina Simone recording. I have recorded many diverse and talented personalities over the years, but I was not prepared for the “experience” that was to follow in the recording studio. When Nina walks into the studio, she radiates the most magnificent intensity of any artist I have ever seen. And when she begins to play and sing, she turns everything – even the most simple, mundane phrase or lyric – into a radiant, poetic message.

– Creed Taylor

A Beautiful Oddity, a True Classic
For me this is the finest album in Nina's peerless body of work. I read an article by singer-songwriter Chris Rea who picked this out as his all-time favourite album (by anybody) and I can see why. Nina is class, and her heart and soul are on show in every track along with her undisputed musical talents. There is subtely and understatement in the reggae feel of "Baltimore," heartbreaking regret in "The Family" and "My Father." The latter even comes close to eclipsing Judy Collins' original – there can be no higher recommendation. "Balm in Gilead" and "If You Pray Right" accentuate Nina's gospel roots without being in the least bombastic, "Rich Girl" is a blast. The overall feel of this wonderful album is of a true friend who you will want to keep beside you always. No wonder Chris Rea rates it so highly. If, like me, you've been wary of exploring Nina's music (and there are some fairly dodgy compilations around) look no further than Baltimore. It's a true classic.

– Stuart Godfrey

Baltimore
Late at night while listening to a local radio station which made a point of featuring albums without commercial interruption, I listened to this recording and couldn't wait to purchase the album. It featured songs by several contemporary artists like Randy Newman, Judy Collins and Hall & Oates, but Nina's delivery of each tune was both haunting and energetic. I'd like to get this recording (like a lot of other “old” recordings) in compact disc form. There were good orchestra arrangements complementing Nina's piano playing, and it is a thoroughly entertaining recording. Randy Newman's “Baltimore” captured a lot of the city in the lyrics, Hall & Oates' “Music for Lovers” and “Rich Girl” and Nina's phrasing didn't hurt the songs one bit. I'll never hear anyone sing those songs like Nina again.

– Gregory Everett

Nina Simone

Photos by Chuck Stewart