Nina Simone's Raw Confession in 1966
A solid mid-career album where Simone's voice carries the weight, even when the arrangements feel uneven.
By 1966, Nina Simone had already established herself as a force — a classically trained pianist who refused to stay in any lane, mixing jazz standards with blues, soul, and increasingly pointed social commentary. Let It All Out arrived during a busy period for her, released by Philips Records in February of that year. It's a record that feels exactly like its title suggests: Simone pouring herself into the material without a lot of polish or restraint.
What works here is straightforward — Simone's voice. She was never a conventional jazz vocalist, and that's precisely the point. Her phrasing bent toward drama and emotional directness rather than technical smoothness. On ballads especially, she commands attention through sheer presence. The album doesn't break new ground for her, and that's okay. By this stage in her career, she was already writing some of her most powerful material elsewhere. This record feels like a collection of performances she needed to document, songs she wanted to sing, without waiting for perfect conditions.
AllMusic gave it three stars, which says something — respectable but not essential. For newcomers to Simone, you're better starting with material that showed her at her most focused and fearless. This is more for listeners who already know her voice well and want to hear her in a conversational mood, without the conceptual weight of her best work. It captures her in motion, working through material, which has its own appeal if you're willing to meet her there.
Who's playing
James E. Bondbass
Lisle Atkinsonbass guitar
Nina Simonepiano
Rudy Stevensonguitar
Albert “Tootie” Heathdrums
Bobby Hamiltondrums
Al Schackmanharmonica
