• Features
  • Reviews
  • New Music
  • Interviews
  • Polls
  • About
  • Search
Menu

Albumism

Street Address
City, State, Zip
Phone Number
Celebrating our love affairs with albums past, present and future

Albumism

  • Features
  • Reviews
  • New Music
  • Interviews
  • Polls
  • About
  • Search

Meshell Ndegeocello’s Musical Vision Enthralls on Immersive ‘The Omnichord Real Book’ | Album Review

June 16, 2023 Patrick Corcoran
BUY ON AMAZON
[As an Amazon affiliate partner, Albumism earns commissions from qualifying purchases.]

Meshell Ndegeocello
The Omnichord Real Book
Blue Note
Listen Below 

Given the twists and turns her career has had over the last 30 years, nobody should be surprised by whatever comes next in Meshell Ndegeocello’s discography. From her first two albums helping to power and create a new iteration of organic soul music for the early 1990s, through her heartbroken musings on Bitter (1999) and on to her most recent work, the bewilderingly brilliantly set of cover versions, Ventriloquism (2018), she has consistently blended genres and wriggled restlessly to break new ground.

When news broke that she had signed to the venerable jazz label Blue Note Records, she joined others like Robert Glasper who had forged new jazz sensibilities fused with soul and R&B as well as jazz artists who were more readily associated with the iconic label’s past. In doing so, she seems to have found a home that suits her down the ground if her new album, The Omnichord Real Book, is anything to go by.

Here she has gathered together a sparkling array of collaborators who contribute to the many and varied concoctions that are served up—Jeff Parker, Cory Henry, Ambrose Akinmusire and Thandiswa, among others, all lend their considerable talents in combination with Ndegeocello’s to create an album that may just be the best of her impressive career. But it is undoubtedly hers. Her gorgeous vocal tone, emotionally raw lyrics and impeccably popping bass ensure her musical fingerprints are all over every facet of the album, despite the collaborations that support her artistic vision.

It all begins with a couple of examples of the titular musical instrument. Held by some to be a novelty instrument, the Omnichord has, nevertheless, played a part in musical history, appearing from time to time on songs by acts like Gorillaz and U2. Here it offers a gentle introduction to affairs with the first two songs set to the simple electronic beats it produces. On the second of those (“An Invitation”), though, the simplicity eventually gives way to a disjointed musical breakdown that mirrors the lyrics (“I’ve been shaken / I fear I’ve lost my way”) that surely must be a reflection of the artist losing both of her parents recently.


Watch the Official Videos:


From there, the instrumentation changes to that which might be more readily associated with Ndegeocello. What never changes is her ability to mix the slower atmospheric pieces (often concerned with heartache or loss), with faster, funkier material. Here, there’s a soul-crushing ballad in the shape of “Gatsby” which is particularly devastating, with its tale of broken dreams told alongside Joan as Policewoman. While the similarly powerful “Towers” is all sweetness and light until you realize Ndegeocello is outlining the day her world tore apart. The contrast is marked and a gut-punch.

The balance here is firmly in favor of more up-tempo songs though and they sound fresh, funky and powerful. “Omnipuss” is an instrumental groove as good as its name, “Clear Water” is a swampy blues funk groove via New Orleans that finds Ndegeocello rapping in her own inimitable way and “Burn Progression” is a low-slung slab of ‘80s synth goodness.

But three songs stand above the others and that is no mean feat, given the quality of what lies around them. First is the lead single “Virgo” with its chunky, space-age, future-funk lightened by the harp perfection provided by Brandee Younger. With Ndegeocello’s sublime tone as our pilot, the ship is set for the stars and beyond. Another guest, Thandiswa, pops by for a brief spoken interlude before erupting with unfettered musical joy on “Vuma.” Another irresistible vibe, it is propelled ever-forward by the hi-life guitar line and Thandiswa’s perfect vocals.

But perhaps the strangest sentence I’ve ever written in a review follows this one. A shining star amongst this glittering constellation is a version of the children’s staple “There’s A Hole In My Bucket.” Yes, that one. Featuring the voices of The Hawtplates (Justin Hicks, Kenita Miller-Hicks and Jade Hicks) alongside minimal music, it is a remarkable and enthralling version of a tune that millions know but few would think to listen to. It is a phenomenal deconstruction and reassembly job, creating a chill-inducing atmosphere that is quite remarkable.

Remarkable is also a word that can be applied to the album as a whole. By taking this set of incredible musicians and combining them with her own unique musical outlook, Ndegeocello has created a whole even more powerful than its constituent parts, taking in a range of ideas that dazzle and enchant with their beauty and power.

Notable Tracks: “Gatsby” | “Hole In The Bucket” | “Virgo” | “Vuma”

BUY ON AMAZON

LISTEN:

In REVIEW Tags Meshell Ndegeocello
← Janelle Monáe Savors Her Sensuality and Stimulates Our Senses with ‘The Age of Pleasure’ | Album ReviewSophie Ellis-Bextor Triumphs with Enchanting ‘HANA’ | Album Review →

Featured
Sananda Maitreya’s ‘Vibrator’ Turns 30 | Album Anniversary
Sananda Maitreya’s ‘Vibrator’ Turns 30 | Album Anniversary
a-ha’s Debut Album ‘Hunting High And Low’ Turns 40 | Album Anniversary
a-ha’s Debut Album ‘Hunting High And Low’ Turns 40 | Album Anniversary
Sting’s Debut Solo Album ‘The Dream Of The Blue Turtles’ Turns 40 | Album Anniversary
Sting’s Debut Solo Album ‘The Dream Of The Blue Turtles’ Turns 40 | Album Anniversary

©2025 Albumism | All Rights Reserved. Use of any portion of this site constitutes acceptance of our Terms & Conditions and Privacy Policy. The content on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Albumism.