" data-original-title="" title="">MeShell NdegeOcello, who first composed some of the tunes on her latest CD, No More Water: The Gospel Of James Baldwin around a decade ago. It all began with her score for "Can I Get a Witness? The Gospel of James Baldwin,"?a 2016 musical theatrical tribute to write James Baldwin, which debuted in December 2016 at the Harlem Stage in Harlem, New York and was inspired by James Baldwin's nonfiction book of essays The Fire Next Time, which was highly critical of the Black church in America. Onstage, the musical presented it as a church service. Baldwin's tome was a particular favorite of Ndegeocello who "carried it around for about a year."

Of particular importance was how Baldwin dealt with religion and "how it's being used to manipulate people," as Ndegeocello puts it. As she told NPR, "I'm very clear that that was used to enslave me. It's sort of a mind control." Last year, she told Downbeat that, while some things are improving (Black Americans "are not dying of cankerous sores; we are not in chains") but "the mentality of the political system is not that different. And that's what The Fire Next Time ages in you. It gives you a blueprint. Baldwin breaks down the police; he breaks down the church. In a clear, succinct manner, he breaks down white society and the Black Muslim movement at the same time."

Onstage, Ndegeocello is a quiet, yet imposing presence. For the first of three popular nights at SFJAZZ Center, she, sat stage right, clad in black sunglasses and dark garments. By her side, and also seated, was vocalist Justin Hicks whose new CD Ndegeocello is in the process of producing. Keyboardist and synthesizer master