It’s fair to say that Meshell Ndegeocello has made a career out of declining to stay in one place too long. Since helping spark the neo soul genre with her 1993 debut album, Plantation Lullabies, she has variously worked in the fields of jazz, R&B, alternative rock, reggae, fusion and gospel. Her last album, No More Water: The Gospel of James Baldwin, seemed intent on defying any kind of classification, leaping from Afrobeat funk to electronic abstraction to a closing track that sounded not unlike the xx: it won a Grammy for best alternative jazz album, which slightly smacked of the awards’ organisers throwing up their hands in defeat after a lengthy and fruitless attempt to decide in which category it might belong.
Even if you knew absolutely nothing about Ndegeocello’s eclectic musical history, you could get a sense of her restlessness just from looking at the back cover of Synonym, a collection of cover versions rendered as duets. The source material picks from the oeuvres of Bob Dylan, Jennifer Lopez, the Human League, Barbra Streisand and Chris Cornell’s short-lived grunge supergroup Temple of the Dog, among others. Her collaborators range from Bill Callahan and Cat Power to Chaka Khan and Cynthia Erivo, by way of jazz pianist Robert Glasper.
