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Subconsciously, throughout this whole month there was an album and specifically an artist I was reminiscing about all through it. Something, about September reminds me about her. For me, September has always been one of my favorite months. I never can pinpoint why exactly. It could be that the environment reminds me of certain things that need to be stressed in one’s life. It could be how time is very temporal. It could be how nature signals the coming of two things: when its flowers give way to its leaves, and their change in colorand how this signals the oncoming of winter to start the whole process again.

For some reason, unconsciously, I avoid trying to do many things indoors during this month. It feels natural to go outside, and take in something, maybe nature, maybe good company, maybe a temperate air instead. For me, it seems important to value a golden time that will shift soon to a tougher season. I guess, its for all these reasons that Minnie’s music and her life, in a way, have been on my mind.

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Minnie’s life was a life dramatically cut short by breast cancer. At the age of 31, after a failed masectomy, Minnie’s inspiring musical career and life was over.

Obscured in life by one monumental hit, Minnie somehow remained obscured from time. The time before her death yield some of the most forward thinking R&B music that was ever made, and left us forever thinking about what could have been. Born in 1947 in Chicago’s South Side, in the Hyde Park neighborhood, from a young age she displayed an immense talent belying her years. Graced by an incredible vocal range, spanning five octaves, as a teenager she was already backing up many artists under the record label, home of Ramsey Lewis, Chuck Berry, and Muddy Waters to name a few. All of those artists were well known jazz, R&B, or blues artists, but something about Minnie was different.

Her own musical tastes ran the gamut far further than that. While she was studying vocal technique in prep school, educating herself in the phrasing of opera and Broadway, she was also developing a deep interest in R&B, rock, and jazz. Its that ability to sing in any style that was surprisingly different for her peers. Unfortunately, that range also made it hard for her to get viewed as anything but a backup singer. Her early years working at Chess involved mostly being on call as vocal backup or taking calls as a secretary. However, by 1967 Leonard Chess, the head of Chess Records, wanted to branch out away from rock and blues his label was known for.

In 1967, he created a new label,, specifically to experiment with psych and art rock, and recruited two important members to form a group that would be dubbed the. This group led by vibraphonist, and featuring the lead vocals of one Minnie Riperton, took a headlining role in adding psychedelic soul arrangements to the work of Muddy Waters and Howlin Wolf. Their own music featured dreamy re-imaginings and reinterpretations of famous rock songs like “The Weight” or “Lady Jane”. What stood out from their music wasn’t really the group itself but the production and singing. On one hand you had Charles’ thoroughly inventive compositions and on the other you had Minnie’s commanding shape-shifting voice.

After the dissolution of Rotary Connection in 1969, Charles convinced Minnie to set out on her own convincing her to let him produce and arrange her first album. This album, 1970’s Come into My Garden, was her first masterpiece. Sounding like if you took Van Morrison’s Astral Weeks band and hooked them up with Make it Easy On Yourself-era Burt Bacharach to create a soul epic a la Curtis Mayfield’s Curtisbut then make it sound beyond that. Fusing art pop, soul, jazz, post-bossanova, and folk like something that never existed before, Minnie and her future husband crafted lyrics and melodies which Charles would expand into these massive arrangements that created a kind of “chamber soul” that worked perfectly with Minnie’s voice. Songs like ““, ““, and “” shock those who expect the routine soft-pop of what we think Minnie should sound like.