The multi-talented, outspoken Meshell Ndegeocello marks a turning point in her storied career not only by signing with Blue Note but a self-confessed admission that this may be her most authentic recording. That’s in reference to playing music live in the studio with real musicians as opposed to computer-generated music that she’s done since her fourth record. Here she didn’t hold back; these 18 tracks comprise 73 minutes. The title begs the question as to what is an Omnichord? It’s an electronic instrument that produces an intriguing harp-like chiming timbre. The instrument gave her a way of working out melodies and ideas without looking at a screen and paved the way for her to work with others in the studio.
Produced by saxophonist Josh Johnson, the album includes Johnson, keyboardist Jebin Bruni, guitarist Chris Bruce, and drummers Abe Rounds and Deantoni Parks. Also appearing on various songs are guitarist Jeff Parker, vibraphonist Joel Ross, trumpeter Ambrose Akinmusire, harpist Brandee Younger, drummer Mark Guiliana, bassist Burniss Travis II, keyboardists Julius Rodriguez, Corey Henry, and Jason Moran, and vocalists Joan As Police Woman, Sanford Biggers, Hanna Benn, Thandiswa, and the HawtPlates (Justin Hicks, Kenita-Miller Hicks, and Jade Hicks). Chances are good that you recognize more than a few of those names.
The Omnichord opens the keyboard-heavy “Georgia Avenue,” a main artery in DC where the artist grew up. The stomping beat alludes to D.C.’s famous go-go sound and guitarist Bruce imparts some West African-flavored guitar lines along with Rounds” percussion, Johnson plays sax, and we hear the chanting vocals of seven. She also plays the Omnichord on the ethereal second track, “An Invitation” and complements it with Afrobeat on the instrumental “Omnipuss.” “Call the Tune” features Hanna Benn’s multi-tracked harmonies behind Ndegeocello in a tune free of any percussion and “Good, Good” features the leader’s bass, multiple keyboards, and vocal interplay between the leader and Jade Hicks over a dreamy soundscape.
“Clear Water” is funkier and partly Sly Stone inspired with Jeff Parker weaving a blues guitar solo and he takes the honors again in the expansive Afrobeat-infused “ASR” where the late Tony Allen is listed in the writer credits, and she gets lots of vocal support from Justin Hicks and Kenita Miller. Ndegeocello turns to another writer, Samora Pinderhughes, for “Gatsby,” a ballad that features Cory Henry’s acoustic piano and a vocal duet with Joan the Police Woman, another dreamy one sans electronics. This gentle, intimate vibe continues with “Towers” as Joel Ross adds textures with his trademark vibraphone. The acoustic piano returns with Jason Moran in the chair for the equally tender “Perceptions” while Bruni weaves in the dreamy backdrop.
At this point, the album moves in a different direction, ignited by the spoken words unaccompanied of Thandiswa Mazwai on “Tha King.” That leads into “Virgo,” the single which is deep in Afrofuturism as the leader sings of spiritual rebirth with the plentiful accompaniment of three percussionists, multiple keys, and her own bass sweetened by Brandee Younger’s soothing harp and Rodriguez’s Farfisa organ. Ndegeocello sings from the perspective of someone jumping off a transatlantic slave ship, and their spirits travel across the ocean. She clearly had Sun Ra in mind. A reprise of the tune, “Virgo 3” closes the album. Ndegeocello sits out for “Yuma” as the South African Mazwai takes the vocal, enhanced by Ross on marimba.
There’s always a funk and soul thread running through other material. Trumpeter Akinmusire steps in for the groove-laden “Burn Progression,” and the leader again sits out for the gospel-infused “Hole in the Bucket” with Hicks on lead vocal, keys, and programming flanked by vocalists Kenita Miller and Jade Hicks. That trio is aboard for the psychedelic soul nod to that hit-making group in “The 5th Dimension,’ which was inspired by QuestLove’s award-winning Summer of Soul.
While the album boasts numerous contemporary jazz and innovative artists, it’s a mashup of many Black music styles. This writer gives the edge to R&B and African-tinged tunes but there’s so much to digest here that we may hear it a bit differently each time it plays.
