Talking to Meshell Ndegeocello, one gets the sense that she’s attained a higher consciousness or, if nothing else, a better outlook on life than most. She uses the word “blessed” abundantly and laughs off (to put it politely) the fact that she’s been nominated for 12 Grammys but still hasn’t won one. Having released five vocal and funk-driven albums for Madonna’s Maverick label, Ndegeocello’s latest for Shanachie is an entirely different beast. Dance of the Infidel is a straight-ahead jazz album with contributions from some of the genre’s heaviest—Jack de Johnette, Oliver Lake, Kenny Garrett, Don Byron and Ron Blake, to name a few. True to her adopted last name (Swahili for “free like a bird”), she sees no boundaries to her musical explorations.

This is the first time you’ve stepped away from the mic for an entire record. Liberating?
It’s more challenging… it’s more energetic. You have to feel what I’m playing. I’m not dictating to you my story or idea.

You dedicate the title track, “Dance of the Infidel,” to “all those who struggle for community.” Would it be fair to say that, in various capacities, you see yourself assuming such a role and challenge?
Oh, often. I play jazz or just do. Be Christian, be this; be male, be female; be black, be white; everyone wants to know depending on what crowd of people they’re with.

What was it like playing with Jack de Johnette?
That was pretty great. It’s like being an ocean. He’s just the most pleasant human being to be around. A lot of people ask me what it was like and I was around a lot of exceptional musicians, but also exceptional people.

It would seem that this album could be deemed the least accessible to your fanbase, with its straight-ahead jazz vibe and deep improvisation…
I’m not concerned because there’s a great quote in the Bible: “Look at the birds, they don’t ask what they’ll eat or what they’ll wear.” If I just keep doing my music, I’ll be fine and I’ll be taken care of and never want for anything in my life.

Some time ago you said, “I just really enjoy embarking on an album, making this complete idea come to life. That’s what I love about the experience of getting people together and playing. I never really enjoyed what happens afterwards.”
I like to make records. I don’t like interviews, the whole thing afterwards. Peoples’ expectations. If I were in another time, I’d have a patron or something. I’d just go paint the chapels… if I could get paid a salary and I had to give certain amount of works every year, it would be better for me.

When was the first time you remember hearing improvisation?
A Clifford Brown record my dad had, Brown Eyes. My dad played in a big band, so I heard music all the time. And then Sugar, I love that record, by Stanley Turrentine with George Benson.

How would you describe improvisation in non-musical terms?
It’s an absolute trust in one’s self and abilities without any doubt or fear. It is to totally lose the self and to set aside the ego so that you can explore, explore something about yourself whether it be musically or love or your children. It’s this openness to not judge.

As far as your own bass playing, who are some your big influences?
Family Man. He used to play with Bob Marley. Sting. I love Prince as a bass player. I used to love this guy, Mark King, in Level 42. Ron Carter. Of course Jaco [Pastorius], but I like to explain how he’s an influence because it’s not like people think. He’s influenced because he’s one of the most brilliant composers. Word of Mouth, that was the first record I really got into. And I was more struck by the composition and string arrangements than anything. And his sense of melody. But that’s a weird question… I feel everyone has something to offer. I listen to people for different things.

You’ve previously described your albums as “chapters in your life.” If you still feel the same way, what’s the CliffNotes version of Dance of the Infidel?
To submit to the will of God because you have no control; just let go and do the best you can. Do good deeds. It’s about helping other people and not yourself.

Meshell Ndegeocello was interviewed by Josh Baron. For more, please visit www.relix.com/meshell