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EPISODE · Feb 26, 2011 · 1H

soul singer N'Dambi

from Indie Review · host Indie Review

The daughter of strict Baptist ministers in Dallas, Texas – only two  kinds of music were allowed in N’dambi’s house, gospel and country.  Church was the center of the family’s life in every way and there was no  middle ground. Secular music was forbidden, but its irresistible allure  eventually trickled into her life and began impacting the maturing  young singer. Blessed with a deep contralto, N’dambi became especially  enamored with the male singers from the ‘70s and ‘80s she’d heard and  identified with while hanging out with cousins and friends. The funky  soul of Bar-Kays’ Larry Dodson, the sophisticated syncopation of Earth,  Wind & Fire’s Maurice White and the notorious abandon of the Ohio  Players’ Sugafoot influenced her heavily. Later, the mysterious,  uninhibited imagination of Nina Simone and Mahalia Jackson also became  musical and cultural touchstones. Her independent streak led to college  and a degree in English and creative writing from SMU. Her developing,  expressive voice, the poetic irony of her skillful writing ability and  her musicianship as a classically trained pianist spurred N’dambi’s  musical ambition. N’dambi sang back-up and collaborated with another  rising soul seeker, Erykah Badu all the while honing her artistry and  slowly building a fiercely loyal fan base that resonates with the  organic, authentic approach to her life and music. N’dambi delivered her  debut solo CD Little Lost Girl Blues in 1999. Since then she has  released the two-disc set Tunin’ Up & Cosignin’, and the 2005 set A  Weird Kind Of Wonderful, which was released only in Japan. On her latest  Pink Elephant, N’dambi ingeniously distills soul-deep inspiration into a  sensual style of elegance and power.     For more info: http://www.indiereviewcd.com https://twitter.com/IndieRevue https://www.instagram.com/indie.review

Episode metadata supplied by the publisher feed · Published Feb 26, 2011

The daughter of strict Baptist ministers in Dallas, Texas – only two  kinds of music were allowed in N’dambi’s house, gospel and country.  Church was the center of the family’s life in every way and there was no  middle ground. Secular music was forbidden, but its irresistible allure  eventually trickled into her life and began impacting the maturing  young singer. Blessed with a deep contralto, N’dambi became especially  enamored with the male singers from the ‘70s and ‘80s she’d heard and  identified with while hanging out with cousins and friends. The funky  soul of Bar-Kays’ Larry Dodson, the sophisticated syncopation of Earth,  Wind & Fire’s Maurice White and the notorious abandon of the Ohio  Players’ Sugafoot influenced her heavily. Later, the mysterious,  uninhibited imagination of Nina Simone and Mahalia Jackson also became  musical and cultural touchstones. Her independent streak led to college  and a degree in English and creative writing from SMU. Her developing,  expressive voice, the poetic irony of her skillful writing ability and  her musicianship as a classically trained pianist spurred N’dambi’s  musical ambition. N’dambi sang back-up and collaborated with another  rising soul seeker, Erykah Badu all the while honing her artistry and  slowly building a fiercely loyal fan base that resonates with the  organic, authentic approach to her life and music. N’dambi delivered her  debut solo CD Little Lost Girl Blues in 1999. Since then she has  released the two-disc set Tunin’ Up & Cosignin’, and the 2005 set A  Weird Kind Of Wonderful, which was released only in Japan. On her latest  Pink Elephant, N’dambi ingeniously distills soul-deep inspiration into a  sensual style of elegance and power.     For more info: http://www.indiereviewcd.com https://twitter.com/IndieRevue https://www.instagram.com/indie.review

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The daughter of strict Baptist ministers in Dallas, Texas – only two  kinds of music were allowed in N’dambi’s house, gospel and country.  Church was the center of the family’s life in every way and there was no  middle ground. Secular music was...

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