Lizz Wright - Shadow

Styles: Vocal
Year: 2024
Time: 50:10
File: MP3 @ 320K/s
Size: 115,4 MB
Art: Front

(6:34) 1. Sparrow
(3:29) 2. Your Love
(3:13) 3. Root of Mercy
(5:34) 4. Sweet Feeling
(5:05) 5. This Way
(4:29) 6. Lost In The Valley
(3:13) 7. I Concentrate On You
(4:49) 8. Circling
(3:34) 9. No More Will I Run
(5:46) 10. Who Knows Where The Time Goes
(4:19) 11. I Made A Lover's Prayer

Lizz Wright’s studio album Shadow explores her vocal artistry and musical vision, set for release on April 12, 2024. The album is a rich tapestry of soulful melodies, intimate lyrics, and collaborative genius, particularly highlighted in the second single from the album, “Your Love,” which features the exceptional talent and the unique contributions of Meshell Ndegeocello and Brandee Younger.

“Your Love” shows Wright’s adeptness at blending genres, weaving blues, gospel, and jazz elements into a compelling R&B groove. The track opens with the unmistakable rhythm of Ndegeocello’s bass deep, resonant, and perfectly in the pocket setting the stage for a musical experience that’s grounding in its pulse and transcendent in its melodic unfolding. Younger’s harp punctuates the arrangement, adding a layer of ethereal beauty that elevates the song beyond its roots.

Wright’s vocal delivery on “Your Love” is profoundly expressive and imbued with soul, bearing a distinct resonance of her gospel roots melded seamlessly with the expansive expressiveness of jazz and soul music. The straightforward structure of the song invites listeners to sink into its medium-slow groove, enabling a deep appreciation for the delicate equilibrium between Wright’s voice and the accompanying instrumentation. The chorus, enriched by opulent vocal harmonies, demonstrates Wright’s remarkable capacity to dominate the listener’s attention with her commanding presence. An A cappella phrase, gracefully positioned at the conclusion of the chorus, serves to underscore the sheer beauty and purity of her vocal tone.

Beyond “Your Love,” Shadow as a whole is a celebration of Wright’s evolution as an artist and touches on themes of intimacy, loss, community, and healing resonate throughout its tracks, reflecting Wright’s personal journey and her reflections on love and grief. Her collaboration with Angelique Kidjo, Meshell Ndegeocello, and other talented musicians adds depth and diversity to the project, making it a collaborative triumph.

Produced by Chris Bruce and recorded with engineer Ryan Freeland, Shadow benefits from a production approach that prioritizes authenticity and emotional honesty. Wright’s decision to release the album on her own label, Blues & Greens Records, free from external pressures, has allowed her to craft a work that is true to her vision and voice. This independence is evident in the album’s sound, which is both polished and profoundly personal.

The anticipation for Shadow is heightened by Wright’s innovative approach to music and her commitment to creating a sustainable, artist-centered ecosystem through Blues & Greens Records. Her dedication to uplifting humanity through music and sound business practices is a model for the industry.

In conclusion, “Your Love” highlights what is to come in Shadow, encapsulating the essence of Wright’s artistry her ability to blend genres, her emotive vocal delivery, and her collaboration with like-minded artists. As Wright celebrates 20 years of musical excellence, Shadow offers listeners a deeply resonant and enriching musical experience, all led by Wright’s ever-soulful and powerful voice. By Stamish Malcuss https://jazzsensibilities.com/jazz-vocals/lizz-wright-shadow-review/

Shadow

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Lizz Wright - Holding Space (Lizz Wright live in Berlin)

Styles: Vocal, Neo-Soul
File: MP3@320K/s
Time: 67:00
Size: 153,8 MB
Art: Front

(6:57) 1. Barley
(6:37) 2. Old Man
(4:56) 3. Wash Me Clean
(5:50) 4. Somewhere Down The Mystic
(7:22) 5. The New Game
(8:33) 6. Walk With Me Lord
(3:47) 7. Southern Nights
(5:52) 8. Grace
(3:15) 9. No More Will I Run
(8:04) 10. Seems I'm Never Tired Lovin' You
(5:41) 11. All The Way Here

Lizz Wright’s seventh album, Holding Space, is a glorious declaration of independence. It’s the first release on her artist-centric new label Blues & Greens Records, a platform that allows musicians to retain the masters and rights to their music. Artistically, the project presents Wright at her most elemental, backed by a working combo with guitarist Chris Bruce, bassist Ben Zwerin, keyboardist Bobby Ray Sparks II, and drummer Ivan Edwards.

Recorded in Berlin in the summer of 2018 at the conclusion of a European tour, the album captures Wright in full flight, focusing on music from 2017’s Grace while also drawing from her previous Concord release, 2015’s Freedom & Surrender, and her project with the WDR Big Band. Since the release of her star-making 2003 debut Salt, Wright has tried on several instrumental settings. Her producers tended to gussy up her songs with an array of keyboards and string instruments; the results didn’t always serve her well. Holding Space is Wright unadulterated, from Allison Russell’s carved-oak “Barley” to a lusciously slow version of k.d. lang’s “Wash Me Clean.”

Wright’s own work as a songwriter is also well represented, with the rapturously folk-rocking “Somewhere Down the Mystic” and swampy anthem “The New Game.” Most striking is when Wright seizes a song indelibly linked to another artist and makes it her own, gently wrestling Allen Toussaint’s “Southern Nights” from Glen Campbell and positively pocketing Neil Young’s “Old Man.” (Have two artists ever offered greater tonal contrast?)

Wright’s voice is one of the marvels of the contemporary scene, but it’s her preternatural calm that sets her apart. Rather than evoking the Black church’s ecstatic fervor, she channels her intensity into the density of her sound. Her phrasing flows imperturbably. She’s a rock, and with Holding Space she’s building an edifice of her own.https://jazztimes.com/reviews/albums/lizz-wright-holding-space-blues-greens/

Holding Space (Lizz Wright live in Berlin)

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Various Artists - Ella 100 - Live at the Apollo!

Styles: Jazz, Vocal
Year: 2020
File: MP3@320K/s
Time: 74:43
Size: 172,6 MB
Art: Front

 1. David Alan Grier/Ayo - Vintage 1934 “Apollo Amateur Night” Radio Broadcast / Judy (3:58)
 2. David Alan Grier - Ella 100 Co-Host David Alan Grier Opening (1:50)
 3. Patti Austin/Count Basie Orchestra - A-Tisket, A-Tasket (3:13)
 4. Patti Austin/Count Basie Orchestra - When I Get Low I Get High (3:33)
 5. David Alan Grier/Count Basie Orchestra - Do Nothin’ Till You Hear From Me (4:16)
 6. Lizz Wright/The Ella 100 All-Star Quartet - Love You Madly (4:37)
 7. Lizz Wright/The Ella 100 All-Star Quartet - The Nearness Of You (6:40)
 8. Ayo/Afro Blue - Oh, Lady Be Good (4:26)
 9. Patti Austin/Afro Blue/Count Basie Orchestra - How High The Moon (4:54)
10. Count Basie Orchestra - Back To The Apollo! (Apple) (5:45)
11. Patti Austin/David Alan Grier/Count Basie Orchestra - I Loves You, Porgy / There’s a Boat Dat’s Leavin’ Soon for New York - Medley (6:31)
12. Cassandra Wilson/Count Basie Orchestra - Cry Me A River (5:35)
13. Ledisi/Count Basie Orchestra - Honeysuckle Rose (3:38)
14. Monica Mancini/Brian Nova - Once In A While (5:51)
15. Patti Austin/David Alan Grier/Count Basie Orchestra - You’ll Have To Swing It (Mr. Paganini) / Paganini Bows Reprise (6:12)
16. Ella Fitzgerald - People (3:36)

To be taken back in time within the scope of a period piece movie has long been a staple. Some journeys feel much more real than others, but the concept is commonplace. Venturing into the past with only the audio of a CD or record is, as they might have said back in 1934, "a whole different kettle of fish." A live audience first laid eyes and ears on this 100th birthday celebration honoring the sensational Ella Fitzgerald (born on April 25th, 1917), live at the Apollo in 2017. It took a host of talent to do justice to one seventeen-year old singer in this project recreating the night of November 21, 1934, when the teenage Fitzgerald made her debut at the Apollo Theater in Harlem. With only voice and musical instruments to channel us back to 1934, emcee David Alan Grier accurately took us there. The feel of an old-time radio show was present. Fittingly, seventeen-year old Ayodele Owalabe started the show with "Judy," the same tune another seventeen-year old had sung performing on that same stage in 1934, launching her prolific career.

It just wouldn't have been right to not have The Count Basie Orchestra perform with the many singers who proceeded to hit the stage one after another. The orchestra was in full swing and later tore the house down with an all instrumental take on "Back to the Apollo." Prior to that, Patti Austin stole the show early, finding her inner child Ella and playfully scatting through the classic "A Tisket-A Tasket." Impressively changing gears on a dime, Austin then took "When I Get Low I Get High" on a sultry road which had the crowd buzzing. Keeping your mind in 1934 may be a challenge sometimes due to some rough editing which keeps pulling you back to reality. However, the show itself didn't skip a beat with Andra Day's feisty take on "Ain't Misbehavin.'" David Alan Grier proved to be well more than an emcee with a riveting version of "Do Nothin' Till You Hear from Me." Moving right along, the incomparable Lizz Wright took her "wrightful" place center stage, along with the Ella 100 All Star Quartet featuring guitarist Brian Nova, bassist Nathan East, pianist Shelly Berg and, far from last and least, drummer Gregg Field. The quartet leader, Field, most notably played with Fitzgerald "back in the day." While the quartet changed the mood from the big sound of the orchestra and played superbly, it was Wright who smoldered into "Love You Madly" and, like butter, slid into a heartfelt "The Nearness of You." Wright seemed to take the audience's breath away.

A fun spin on "Oh, Lady Be Good" by Afro Blue had elements of The The Modernaires. The Count Basie Orchestra and Austin returned to the stage to join Afro Blue in a kicked-up look at "How High is the Moon." After a brief repartee which clarified that Grier was as unfunny in 1934 as he is in the present, he again stunned in a magnificent duet with Austin of "I Loves You Porgy." Cassandra Wilson's delightful bend on "Cry Me A River" followed. Next up, Ledisi took a run on "Honeysuckle Rose." With due respect, the show lost a little steam at this point. Neither Ledisi's voice nor scatting sensibilities were on a par with her predecessors. Not that she isn't a fine singer, perhaps just not the best choice to be singing Ella Fitzgerald tunes. Monica Mancini yes Henry Mancini's daughter then sang "Once in A While" joined by Brian Nova's fine Joe Pass interpretation on guitar. Grier and Austin returned for a finale that was Broadwayesque, as opposed to the big band power push one might expect in honoring a jazz singer. Not to mention the fact that The Count Basie Orchestra was in the house. There are certainly way more hits than misses and a couple of the hits were home runs or triples. An enjoyable listening experience was enhanced when the record closed with a live recording of "People" sung in all its glory by the legend herself. With just one song you clearly hear and understand why Ella Fitzgerald is heralded as the "The First Lady of Song."~ Jim Worsley https://www.allaboutjazz.com/ella-100-live-at-the-apollo-various-artists-concord-jazz

Personnel:  The Count Basie Orchestra: band/orchestra; David Alan Grier: voice / vocals; Patti Austin: voice / vocals; Monica Mancini: voice / vocals; Cassandra Wilson: voice / vocals; Ledisi: voice / vocals; Ella Fitzgerald: voice / vocals; Afro Blue : voice / vocals; Lizz Wright: voice / vocals; Andra Day: voice / vocals; Brian Nova: guitar; Gregg Field: drums; Nathan East: bass; Shelly Berg: piano.

Ella 100: Live at the Apollo!

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David Sanborn - Closer

Bitrate: MP3@320K/s
Time: 52:46
Size: 120.8 MB
Styles: Saxophone jazz, Smooth jazz
Year: 2005
Art: Front

[6:17] 1. Tin Tin Deo
[5:07] 2. Senor Blues
[6:06] 3. Don't Let Me Be Lonely Tonight (With Lizz Wright)
[3:50] 4. Smile
[4:26] 5. Enchantment
[3:58] 6. The Ballad Of The Sad Young Men
[6:03] 7. Another Time, Another Place
[3:22] 8. Capetown Fringe
[6:01] 9. Poinciana
[3:49] 10. You Must Believe In Spring
[3:44] 11. Sofia

David Sanborn has never sounded better - once again he redefines the sound of the saxophone in contemporary music as he did in the pop world in the 70's and contemporary jazz in the 80's. Closer is the brilliant follow-up to the legendary saxophonist's Verve debut timeagain which scanned over 100,000 units and had the #1 smooth jazz track of the year with 'Comin' Home Baby'. The eclectic selection of songs runs the gamut of modern jazz and popular music, from Horace Silver's 'Senor Blues' to Charlie Chaplin's 'Smile', the first smooth jazz radio focus track 'Tin Tin Deo', James Taylor's 'Don't Let Me Be Lonely Tonight' featuring Verve artist Lizz Wright, plus Sanborn's own 'Sofia' and 'Another Time, Another Place'.

Closer mc
Closer zippy

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Lizz Wright - Grace

Styles: Vocal, Neo-Soul
Year: 2017
File: MP3@320K/s
Time: 43:50
Size: 101,2 MB
Art: Front

(5:07)  1. Barley
(4:43)  2. Seems I’m Never Tired Lovin’ You
(3:47)  3. Singing In My Soul
(4:14)  4. Southern Nights
(3:17)  5. What Would I Do Without You
(4:55)  6. Grace
(3:52)  7. Stars Fell On Alabama
(5:29)  8. Every Grain Of Sand
(4:34)  9. Wash Me Clean
(3:48) 10. All The Way Here

In reaffirming the adage that you can go home again, Lizz Wright did just that. The songs on Grace reflect a homecoming to the singer's southern heritage a personal rite of passage to glean inspiration and redefine her musical origins. She revisits her rural Georgia upbringing and Atlanta gospel roots, and finds comfort at her current home in Asheville, North Carolina. Having had an enduring taste of fame and success, she articulates the need for humanity, direly absent in times like these. Possessing a discernible earthy vocal quality, and recognized as a riveting interpreter of any song she sings, this time around Wright opts for an Americana theme guided by the expertise of producer Joe Henry, who proves to be a wise choice for the project. In keeping with Wright's natural inclinations, there is an inherent sense of the music that has forever buoyed the spirit of the black community, where she has been culturally grounded since Wright's days as musical director of her father's church. "Barley" is a rhythmic acoustic blues that conjures images of farmlands, down home country living and unwavering faith. The iconic Nina Simone continues to cast a mesmerizing spell over contemporary singers, and Wright fell under her sway long ago. She does a remarkable version of Simone's "Seems I'm Never Tired Of Lovin' You," bringing in an impressive Atlanta church choir under the direction of Kenny Banks Sr., a local gospel legend. They come in around mid-song, and the increasing vocal textures add a divine proclivity to the outcome. The traditional gospel "Singing In My Soul," long associated with Sister Rosetta Tharpe, comes with a swinging cadence, embellished by electric guitars amidst a sanctified shuffle. Allen Toussaint's signature "Southern Nights" is returned to the bayous and backwaters from where it came, with Wright successfully projecting the bucolic imagery the song intended. The road back to Atlanta goes right through Ray Charles, and he is given his due with "What Would I Do," with the choir brought back, accompanied by a deliberate church-inspired piano.

In breaking with her personal practice of composing the title track on her records, "Grace" was written by Rose Cousins, and given the royal Wright treatment, the choir returning for an encore. Wright contributes her romantic magic on the standard "Stars Fell On Alabama," while Bob Dylan's "Every Grain of Sand" is transported to a place where poetry, country and blues melt into the setting sun. There is an undercurrent of sensuality evident in Wright's voice, which she can conjure up at will, as she does on "Wash Me Clean," a k.d. lang ballad, converted into a soulful yearning moan. 

She co-wrote "All The Way Here," with Maia Sharp, a biographical tale of coming to terms with where she's been and what she has become, as the album comes to an end. There are few singers that are comfortable in a variety of styles while maintaining individuality and quality in the process. Lizz Wright can take any song into another dimension, yet she chooses with care as she is a firm believer in song as a means of message and hope. Her voice has a kind and tender quality that is evidence of her engagement with life on the higher spiritual plane from which she sings. ~ James Nadal https://www.allaboutjazz.com/grace-lizz-wright-concord-music-group-review-by-james-nadal.php

Personnel: Lizz Wright: vocals; Jay Bellerose: drums, percussion; David Piltch: upright bass; Chris Bruce: acoustic and electric guitar; Marvin Sewell: acoustic and electric guitar; Kenny Banks: piano, Hammond organ; Patrick Warren: keyboards (3, 9, 10); Marc Ribot: electric guitar (7); Valorie Mack: backing vocals (2, 5, 6); Cathy Rollins: backing vocals (2, 5, 6); Artia Lockett: backing vocals (2, 5, 6); Angela Jenifer: backing vocals (2, 5, 6); Sheree-Monique: backing vocals (2, 5, 6); K. Heshima White: backing vocals (2, 5, 6); Ted Jenifer: backing vocals (2, 5, 6); Kevin O’Hara: backing vocals (2, 5, 6); Kenny Banks, Sr.:vocal choir director (2, 5, 6).

Grace

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Various - At Last: The Blues Ballads

Bitrate: MP3@320K/s

Time: 68:25

Size: 156.6 MB

Styles: Blues/Jazz vocals

Year: 2014

Art: Front

[3:40] 1. Mighty Mo Rodgers - Have You Seen The American Dream

[2:57] 2. Marlena Shaw - Anyone Can Move A Mountain

[4:15] 3. Nina Simone - Don't Explain

[2:58] 4. Etta James - At Last

[7:40] 5. James Brown - (I Love You) For Sentimental Reasons

[4:43] 6. Susan Tedeschi - Lord Protect My Child

[4:36] 7. Labelle - Miss Otis Regrets

[6:01] 8. Larry Carlton - Cold Day In Hell

[3:04] 9. Peggy Lee - Black Coffee

[3:04] 10. Queen Latifah - I Want A Little Sugar In My Bowl

[7:32] 11. Robben Ford - Life Song

[6:03] 12. Diane Schuur - Someone To Love

[4:52] 13. Lizz Wright - I Idolize You

[4:14] 14. Nina Hagen - What It Is

[2:36] 15. Dinah Washington - A Bad Case Of The Blues

The term blues ballad is used to refer to a specific form of popular music which fused Anglo-American and Afro-American styles from the late 19th century onwards. Early versions combined elements of the European influenced "native American ballad" with the forms of African American music. From the 20th century on it was also used to refer to a slow tempo, often sentimental song in a blues style.

At Last: The Blues Ballads

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Lizz Wright - Freedom & Surrender

Styles: Neo-Soul
Year: 2015
File: MP3@320K/s
Time: 61:46
Size: 141,8 MB
Art: Front

(5:05)  1. Freedom
(2:57)  2. The Game
(3:26)  3. The New Game
(5:20)  4. Lean In
(5:25)  5. Right Where You Are
(5:32)  6. River Man
(5:27)  7. Somewhere Down The Mystic
(3:34)  8. Real Life Painting
(5:06)  9. To Love Somebody
(4:28) 10. Here And Now
(5:15) 11. You
(3:40) 12. Blessed The Brave
(6:26) 13. Surrender

A few years after the release of her fourth album with Verve, a gospel-themed set of reinterpretations titled Fellowship, Lizz Wright signed to the Concord label with an eye toward concentrating on original material. The vocalist made a connection with veteran multi-instrumentalist and producer Larry Klein and recorded Freedom & Surrender with a stable backing band that included drummer Vinnie Colaiuta, percussionist Pete Korpela, bassist Dan Lutz, guitarist Dean Parks, and keyboardists Pete Kuzma and Billy Childs. For most listeners, the change of label and mostly new set of supporting musicians will seem transparent. Like Wright's previous albums, Freedom & Surrender is graceful and exacting, yet those qualities come across in a fashion that does not seem deliberate remarkable for material that draws from folk, blues, jazz, soul, and gospel and often fuses two or more of those genres.

Longtime collaborator Toshi Reagon contributes only two songs, "Freedom" and "Surrender," but they neatly begin and end the album in spirited and assured form. David Batteau and Jesse Harris separately collaborated with Wright and sometimes Klein on the writing of seven selections. In "The New Game," one of the grittier moments featuring a contribution from Batteau, Wright delivers the lines that most applicable to the state of her career: "I remember the way in/I got my new dancin' shoes/This is a new game, no tears/Ain't no shame shiftin' gears." Two guest appearances fit into place with ease. Gregory Porter is a duet partner on "Right Where You Are," a languid ballad written by Wright and Klein with J.D. Souther. A spectral version of Nick Drake's "River Man" along with an update of Bee Gees' "To Love Somebody," one of only two covers, and a highlight  features a soft-hued flügelhorn solo from Till Brönner. It's doubtful that Wright and her creative partners could have more effectively synthesized her past work with her current outlook. ~ Andy Kellman  http://www.allmusic.com/album/freedom-surrender-mw0002855681

Freedom & Surrender

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Kirk Whalum - Promises Made : The Millennium Promise Jazz Project

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 62:37
Size: 143,8 MB
Art: Front

(4:07)  1. Stand By Me
(6:43)  2. Bridge Over Troubled Water
(4:46)  3. I Wish I Knew (How It Feels to Be Free)
(6:10)  4. A Day In The Life
(3:57)  5. The Fool on the Hill
(6:06)  6. People Get Ready
(3:39)  7. Eleanor Rigby
(8:39)  8. I'll Take You There
(4:33)  9. A Change Is Gonna Come
(5:36) 10. War
(6:15) 11. What's Going On
(2:00) 12. (Untitled)

With precious few exceptions, star-studded lineups on benefit recordings are usually a mixed bag at best particularly when it comes to the jazz arena. We tend to support these albums more as a way of showing solidarity than for their musical value. This set of stellar, contemporary jazz versions of socially conscious pop and soul songs is a clear exception. Promises Made is a benefit offering on Koch for the Millennium Project, an organization dedicated to the relief of hunger, disease prevention and economic development in Africa. This set is co-directed by saxophonist Kirk Whalum and pianist Takana Miyamoto. Some of those who signed on for this date include George Duke, David Sanchez, Marcus Printup, Russell Gunn, and Earl Klugh, who appear as soloists in different settings with a couple of different rhythm sections. The album was recorded in Nashville and produced by Miyamoto and Whalum with Norbert Simmons acting as executive producer.

This set is a treat: it's polished to be sure, but it's far from slick. The rhythms are all organic, there are no programmed beats, just drums and percussion instruments. Every selection is drenched in real emotion and, to quote Charles Mingus, "plenty, plenty soul." The opener is a great place to start: Whalum and Miyamoto front a septet performing Ben E. King's classic "Stand by Me," which becomes a hymn of solidarity underscoring this project. With a B-3, electric guitar, two bassists (upright and electric), drums, and percussion behind the soprano and piano, it is reminiscent of the Blue Note soul-jazz sound of the mid-'60s except that the production is pure 21st century, smooth and seamless. The melody is pronounced and there is a bridge for the soloists to move forward a bit before returning to it. It is groove conscious without being synthetic and is drenched with honest emotion. The songs of Lennon and McCartney are well represented here: "Eleanor Rigby," "A Day in the Life," and "The Fool on the Hill" are present. 

In addition, there as are excellent readings of Curtis Mayfield's standard, "People Get Ready," Barrett Strong's and Norman Whitfield's "War," Marvin Gaye's "What's Goin' On," Sam Cooke's "A Change Is Gonna Come," Paul Simon's "Bridge Over Troubled Water," Alvertis Isbell's "I'll Take You There," (so closely associated with the Staple Singers), and the civil rights-era classic, "I Wish I Knew (What It Means to Be Free)" immortalized byNina Simone. As fine as this set is as a whole, there are some clear standouts: "A Day in the Life" with Klugh's warm but funky acoustic guitar and gorgeous piano work by Miyamoto, the long improv that introduces the Mayfield tune with Whalum at his soloing best on soprano and a nice koto part woven in by Junko Takeo; Sanchez's lyrical tenor paired with Printup's trumpet on "Fool on the Hill"; and the five-horn front line of the Common Ground Collective on "War," with talking drum, wah-wah guitars, and smoking breakbeats. This is not only a benefit record worth supporting, it's a musical statement that stands on its own; it is worth celebrating as one of contemporary jazz's shining lights in 2008. ~ Thom Jurek  http://www.allmusic.com/album/promises-made-the-millennium-promise-jazz-project-mw0000796603

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone); Kevin Whalum (vocals, background vocals); Paige Lackey Martin, JIVA Singers, Alex Lattimore, Chanda McKnight, Lizz Wright (vocals); Kevin Turner, Earl Klugh, Kevin Turner (guitar); Junko Takeo (koto); Takana Miyamoto (melodica, piano, Fender Rhodes piano); Kenton Bostick (alto saxophone, drums); Darryl Reeves (alto saxophone); David Sanchez , Jorga Mesfin, Kenneth Whalum, Kebbi Williams (tenor saxophone); Alex Lowe (baritone saxophone); Dallas Smith & the Boys From Shiloh, Marcus Printup, Russell Gunn (trumpet); Mausiki Scales (Fender Rhodes piano, percussion); George Duke (Fender Rhodes piano); Ralph Lofton (Hammond b-3 organ); Chris Kent, Zack Pride (bass instrument); Terreon Gully (drums, drum, tambourine); J.D. Blair (drums, drum, percussion); Chris Burroughs (drums); Adebisi Adeleke (talking drum); Juan Carlos Santos, Rafael Pereira (percussion); Joey Kibble, Mark Kibble (background vocals).

Promises Made : The Millennium Promise Jazz Project

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Lizz Wright - Fellowship

Styles: Neo-Soul
Year: 2010
File: MP3@320K/s
Time: 47:32
Size: 109,3 MB
Art: Front

(3:33)  1. Fellowship
(4:37)  2. Imagination
(5:30)  3. I Remember, I Believe
(4:29)  4. God Specializes
(8:30)  5. Gospel Medley
(1:56)  6. Sweeping Through The City
(1:18)  7. All The Seeds
(4:51)  8. Presence Of The Lord
(3:06)  9. In From The Storm
(2:58) 10. Feel The Light
(1:31) 11. Oya
(5:07) 12. Amazing Grace

On her fourth album, Lizz Wright returns to her gospel roots after writing her own material on 2008's The Orchard. Typically, however, this is hardly a traditional collection of faith-based songs. Wright does include a medley of old spirituals including "Up Above My Head," and she closes the proceedings with "Amazing Grace." But her idea of gospel is highly eclectic, also encompassing the Gladys Knight & the Pips hit "I've Got to Use My Imagination" and Jimi Hendrix's "In from the Storm," neither of which seem particularly religious, as well as Eric Clapton's "Presence of the Lord." Wright also draws material from a clutch of black female contemporaries and influences including Me'Shell Ndegéocello, Bernice Johnson Reagon, Joan Wasser, and Angélique Kidjo as she ranges from neo-soul to African-styled folk-rock music. 

The disparate sources are united by Wright's distinctive and powerful alto voice, which anchors the music and provides a stylistic through-line, no matter what the nominal genre. This is an unusually somber type of gospel, as Wright favors moodiness over fervor in her statements of faith. That is especially true at the end, when she presents "Amazing Grace" in an ambient, funereal mood. Listeners should expect to be moved by these performances, but not to be cheered. 

~ William Ruhlmann  http://www.allmusic.com/album/fellowship-mw0002033204

Fellowship

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Lizz Wright - The Orchard

Styles: Neo-Soul
Year: 2008
File: MP3@320K/s
Time: 53:05
Size: 122,7 MB
Art: Front

(4:46)  1. Coming Home
(4:00)  2. My Heart
(4:54)  3. I Idolize You
(5:21)  4. Hey Mann
(3:42)  5. Another Angel
(3:54)  6. When I Fall
(5:03)  7. Leave Me Standing Alone
(3:45)  8. Speak Your Heart
(4:10)  9. This Is
(4:52) 10. Song For Mia
(5:00) 11. Thank You
(3:32) 12. Strange

Vocalist Lizz Wright mixes jazz, gospel, and soul on THE ORCHARD, an intimate, intensely personal album that ranks among the most compelling of the artist’s career. With help from singer-songwriter Toshi Reagon, Marc Anthony Thompson (who records under the name Chocolate Genius), and members of Ollabelle, Calexico, and Bob Dylan’s band, Wright has created a beautiful, organic feel on THE ORCHARD one that is the perfect vehicle for her expressive voice and original songwriting vision. Yet it is Wright herself that shines through most powerfully here, whether on stunning originals such as “When I Fall” or her treatments of Ike and Tina’s “I Idolize You” or Led Zeppelin’s “Thank You.” ~ Anthony Tognazzini  http://www.allmusic.com/album/the-orchard-mw0000492953

Personnel: Lizz Wright (vocals); Chris Bruce, Oren Bloedow (acoustic guitar, electric guitar); Joey Burns (acoustic guitar, baritone guitar, cello); Toshi Reagon (acoustic guitar, background vocals); Martin Wenk, Jacob Valenzuela (trumpet); Glenn Patscha (keyboards); John Covertino (vibraphone, drums, percussion); Larry Eagle (drums, percussion); Ben Perowsky (drums); Catherine Russell (background vocals).

The Orchard

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Lizz Wright - Salt

Styles: Neo-Soul
Year: 2003
File: MP3@320K/s
Time: 50:31
Size: 116,3 MB
Art: Front + Back

(5:07)  1. Open Your Eyes, You Can Fly
(3:25)  2. Salt
(5:51)  3. Afro Blue
(4:26)  4. Soon as I Get Home
(4:06)  5. Walk With Me, Lord
(3:35)  6. Eternity
(3:57)  7. Goodbye
(4:33)  8. Vocalise/End of the Line
(4:15)  9. Fire
(4:06) 10. Blue Rose
(4:23) 11. Lead the Way
(2:42) 12. Silence

Vocalist Lizz Wright delivers jazz that harks back to such luminaries as Nina Simone and Abbey Lincoln on her debut Verve release, Salt. Still in her early twenties, Wright has a warm, dusky voice reminiscent of Cassandra Wilson and similarly to Wilson seems interested in tackling an eclectic mix of jazz standards, traditional folk, and R&B. Early on, a folky afterglow-Latin version of "Afro Blue" takes center stage followed by the gorgeous "Soon as I Get Home," which betters the version from The Wiz. Wright fairs equally well as a songwriter with about half the album filled with her soaring, bluesy ballads. There is a melancholy yet positive '70s vibe that eminates from songs like "Fire," which resonates lyrically as well as melodically much like the personal/sociopolitical writing of another of Wright's obvious inspirations, Terry Callier. Perhaps a little too low-key to register very high on the pop radio scale, but invested with enough sanguine emotionality and chops to make Salt easily recommended to fans of the neo-soul movement. ~ Matt Collar  http://www.allmusic.com/album/salt-mw0000020164

Personnel: Lizz Wright (vocals); Myron Walden (alto saxophone); Derrick Gardner (trumpet); Vincent Gardner (trombone); Kenny Banks (acoustic piano, Fender Rhodes piano); John Cowherd (acoustic piano); Sam Yahel (Hammond B-3 organ); Sarah Adams, Ron Carbone, Crystal Garner, Judy Witmerr (viola); Ellen Westerman (cello); Adam Rogers (acoustic, electric & bottleneck guitars); John Hart (acoustic guitar, guitar); Brian Blade (acoustic guitar); Doug Weiss (acoustic bass); Brian Blade, Terreon Gully, (drums); Jeff Haynes (percussion).

Salt

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