The prescience of James Baldwin is alive nearly forty years after his passing, a testament to his enduring impact. A prolific writer, his essays, novels, plays, and poetry have assessed and often reproached the human condition. As an activist, his oratory prowess in the 1960s was bar none, lending his outspoken views on Black oppression with profundity and eloquence. Born in New York City on August 2, 1924, this year marks the centennial of the eminent writer, a momentous occasion that is celebrated by the release of one of Meshell Ndegeocello’s most intrepid efforts to date: No More Water: The Gospel Of James Baldwin.

With No More Water, Ndegeocello embarks on a prophetic musical odyssey that transcends boundaries and genres, delving headfirst into race, sexuality, religion, and other recurring themes explored in the celebrated writer’s canon. Following 2023’s The Omnichord Real Book, her acclaimed debut for Blue Note Records which won the inaugural GRAMMY Award for Best Alternative Jazz Album, the multiinstrumentalist, singer, songwriter, and producer renders an immersive and palpable document that is as sagacious, unabashed, and introspective as Baldwin was in life.

Co-produced by Ndegeocello and guitarist Chris Bruce, No More Water features some of the bassist’s frequent collaborators including Bruce, vocalist Justin Hicks, saxophonist (and Omnichord producer) Josh Johnson, keyboardist Jebin Bruni, and drummer Abe Rounds. Also appearing on various songs are a stellar group that includes vocalist Kenita-Miller Hicks, keyboardists Jake Sherman and Julius Rodriguez, and Executive Director of the NYCPS Arts Office and trumpeter Paul Thompson. The album also showcases spoken word by venerated poet Staceyann Chin and Pulitzer Prize-winning author and critic Hilton Als.

Nearly a decade in the making, the album’s origins began in 2016 during a performance at The Harlem Stage Gatehouse as part of their annual showcase honoring Baldwin. Ndegeocello had delved into Baldwin’s work the year before, including the seminal nonfiction work The Fire Next Time, which she considers “life-changing” and carries with her as a “spiritual text.”

“It was just a revelation to me, and it softened my heart in so many ways,” says Ndegeocello. “I got a really quick education when I met Greg Tate, but nothing affected me like The Fire Next Time. It’s as if they’re speaking about my family, especially the first chapter: I grew up around Black men who didn’t want to be seen as soft, which is how he opens ‘A Letter to My Nephew.’”

Ndegeocello credits Baldwin’s essays with giving her a deeper understanding of the fraught history of race and class struggle in this country, specifically its lasting impact on her and her family. “As a Black American, you are devoid of any historical grounding other than what your parents give you. This allowed me to really see what my parents went through.”