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Nina Simone stood among the most profound influences on Wilson's artistry. Like Simone, she sang in a deep, sultry voice and held to a specific volume, rarely whispering or shouting. When she wanted to focus on a specific word or emotion, she had her band play softer or stop entirely, letting her make the point a cappella.
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Sultry and Socially Conscious Jazz Legend Cassandra Wilson Dies At 70
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| Wilson at the Charlie Parker Jazz Festival, NYC, 2007 Photo Credit Professor Bop |
Cassandra Wilson, the Grammy Award-winning singer whose Mississippi blues roots shaped one of the most distinctive voices in modern jazz, died Tuesday, September 1st in Jackson, Mississippi, according to Hinds County Coroner Jeramiah Howard. Jeramiah Howard, confirmed her death at age 70; officials released no cause.
Wilson built her legacy as a musician who moved fluidly across genres, opening for Miles Davis and touring with Wynton Marsalis during a run of major jazz success through the 1980s and '90s. She embraced the title of musician above any single label, a stance that let her carry blues, folk, and soul into jazz spaces and expand who the genre could reach.
Her low, smoky voice brought fresh romance to Great American Songbook standards while she pulled covers from Joni Mitchell, Van Morrison, Neil Young, and Mississippi bluesman Robert Johnson into her repertoire, proving remarkably popular in decades when jazz lost mass audience share to rock and rap.
Wilson's rendition of "Strange Fruit" stands as one of her most powerful contributions to American music and memory. Billie Holiday's original recording exposed the horror of lynching in the Jim Crow South, and Wilson's version, with its slow-burning alto and spacious arrangement, carried that history forward for new listeners decades later. She turned the song into a bridge between generations, connecting the anti-lynching movement of the 20th century to ongoing conversations about racial violence today.
Checkout the Strange Fruit Video Below...
Article On The Passing of
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Cassandra Wilson Continues After
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Sultry & Socially Conscious Jazz Legend
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Author Max Miller Releases
New Self-Help Book “Blame It on the Feel of Pain” About Detangling From Past Pain
New Self-Help Book “Blame It on the Feel of Pain” About Detangling From Past Pain
Get ready for a transformational journey toward inner peace as indie author Max W. Miller’s new self-help release, Blame It On The Feel Of Pain, inspires readers in a witty, down-to-earth book. Truth and compassion are foretold, using poetic frames called ‘The Wises,’ and the help of opinionated little emojis bringing laughter and thought-provoking conclusions throughout.
The author encourages her readers, whom she also calls partners, to stop wrestling with the hard knocks of the past. She expresses how voluntarily walking back into time precedes trauma healing. Confronting lingering pains is a step toward strength and hope for the future. ‘Blame It’ delves into the author’s life experiences, bringing to life the importance of using Full Circle Moments to find resolutions.
Throughout Blame It On The Feel Of Pain, the reader grows to understand through a unique interpretation that what we are destined to become grows out of the years we’ve already traveled. Further, our future hinges on how we address the pains of the past. Other expressions focus on how desires in the present are carved out of having a clear vision that old, lingering strongholds must be defeated. A history of suffering is a prerequisite for becoming fed up enough to demand enjoyment now!
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Article On The Passing of
Sultry & Socially Conscious
Jazz Legend Cassandra Wilson
Continues Below...
Sultry & Socially Conscious
Jazz Legend Cassandra Wilson
Continues Below...
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| Wilson at Ottawa Bluesfest, 2008 Photo Credit Scott Penner |
Nina Simone stood among the most profound influences on Wilson's artistry. Like Simone, she sang in a deep, sultry voice and held to a specific volume, rarely whispering or shouting. When she wanted to focus on a specific word or emotion, she had her band play softer or stop entirely, letting her make the point a cappella.
Like Simone, she intermingled songbook standards with originals, and an underlying current of social justice, feminism, and racial equality ran through nearly everything she sang. Critic Christopher John Farley, reviewing "New Moon Daughter" for Time, wrote that Wilson's songs feel like "seas of tranquility; tiny emotional variations have a major impact, a pebble in a calm pool of water."
Cassandra Marie Fowlkes, the youngest of three children, was born in Jackson on December 4, 1955. Her mother, Mary Fowlkes, worked as a public school educator, and her father, Herman Fowlkes Jr., moved between jobs as a postal worker, insurance agent, and music teacher while playing electric bass in local jazz and blues combos.
Wilson grew up playing classical piano, switched to clarinet and guitar as a teenager, and began songwriting at 13. Delta blues surrounded her Jackson upbringing, and she later reinterpreted foundational songs from the form, including Muddy Waters' "Honey Bee," Son House's "Death Letter," and three Robert Johnson classics.
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| Cassandra Wilson in concert, Pompei Jazz Festival 1987 - Picture by Pino Alpino |
Segregation still gripped Mississippi schools during her early years, and she had little contact with white students until winning the role of Dorothy in a school production of "The Wizard of Oz" in 11th grade. She formed a folk trio with two white classmates bonded over Bob Dylan and Joni Mitchell, an exchange she later called "eye-opening and important to my way of thinking about music and its boundaries."
She graduated from Jackson State University, a historically Black institution, in 1980 with a degree in mass communications, then settled briefly in New Orleans, where she recorded her first album with a local band called Jasmine.
Wilson moved to New York with plans to work behind the scenes in television, but she found her way instead to jam sessions and into the M-Base avant-garde collective in Brooklyn, led by saxophonist Steve Coleman. "We all banded together and decided to create our own place, our own language, our own shared repertoire," she told The Washington Post in 1994. She released eight albums between 1985 and 1992, moving gradually from M-Base experimentation toward standards, a shift that culminated in 1988's "Blue Skies" and opened the door to her 1989 slot opening for Miles Davis at the Chicago JVC Jazz Festival.
Signing with Blue Note Records in 1993 cemented her status as a major jazz star. "Blue Light 'Til Dawn" and "New Moon Daughter" became her defining breakthroughs, with producer Craig Street pairing her voice with unexpected instrumentation, from violin to clarinet to hand percussion. "New Moon Daughter" earned a Grammy for best jazz vocal performance and sold more than 400,000 copies, propelled partly by her haunting reinterpretation of the Monkees' "Last Train to Clarksville," which surfaced the song's antiwar core.
Her golden decade stretched from the mid-1990s through the mid-2000s, a stretch that included a starring role in Marsalis's Pulitzer Prize-winning oratorio "Blood on the Fields," where he introduced her as "Mississippi's finest, Cassandra Wilson." She followed with "Rendezvous" alongside pianist Jacky Terrasson, then "Traveling Miles," her tribute to Davis featuring new lyrics for his classics. "Belly of the Sun," recorded at an abandoned railway station near her hometown, closed out the Blue Note cycle. "Loverly" earned her a second Grammy in 2008.
"The gospel that I'm trying to get out is that, OK, it's fine to have a beautiful voice, but it will be even finer if you are able to communicate with that instrument as a musician," she told JazzTimes in 2024.
Wilson's marriages to Bruce Lincoln, Anthony Wilson, and actor Isaach de Bankolé all ended in divorce. She had one son, Jeris. Her artistry reflected the strength of Black Southern musical tradition, and her career opened doors for Black women in jazz to define themselves as full musicians, a legacy that continues to shape vocalists working today.
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While there are brilliant persons on the Autism Spectrum celebrated today, very little media stories focus on people, especially women of color. Our co-publisher's new bio-pic "nZinga's Spectrum In 3D," is a moving and inspirational documentary on how a young Black woman RISES to overcome her challenges.
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nZinga Austin is also the Co-publisher of Our Black News Scoop and Southeast Queens Scoop. The documentary of about 1/2 hr long is getting rave reviews.
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Posted by community events coordinator, Nzinga Lonstein Austin, is a prolific blogger who writes on the entertainment industry and issues for people with developmental and physical challenges.
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