Lizz Wright | Fellowship

Lizz Wright | Fellowship
By Peggy Oliver

Growing up in a strict, conservative household, Lizz Wright found several opportunities to stimulate her creativity. Without a television in the house, she listened to radio dramas in learning the art of storytelling. Though she sang traditional gospel as a child, Wright was more attracted to the contemporary side with artists like The Winans and Commissioned who sprinkled their gospel messages with R&B, soul and jazz. Then there was modern jazz pianist Marian McPartland, where Wright grasped elements of gospel and blues. With all that inspiration built up inside her, Wright was slowly developing her musical personality – a deep caressing alto with a gospel spirit embedded in her heart and a free flowing range of musical colors. While at Georgia State University in Atlanta, Wright concentrated on the jazz music program with the group In The Spirit. After graduating, she toured across the world paying tribute to Billie Holliday. Shortly afterward,Wright was signed to Verve Records in 2003. And she has not disappointed since her debut in 2003 – Salt, Dreaming Wide Awake (2005) and The Orchard (2008); injecting vocal exquisiteness backed with organic instrumentation minus the high tech trappings and other production trickery.

Wright’s latest Verve disc, Fellowship, draws from her gospel background with an extremely impressive hybrid of inspirational fueled material, whether secular, spirituals, hymns or African music. Her first single, “(I’ve Got To Use My) Imagination” is transformed with an jubilant Afro beat. Wright rethinks this Gladys Knight & The Pips Motown classic into a rousing anthem of faith and perseverance: “It’s so strong, Got to keep on keepin’ on.” The same is accomplished with “I Remember I Believe,” an acoustic folk arrangement of the Dr. Bernice Johnson Reagan (Sweet Honey in the Rock) composition about the African-American’s resounding trust in God through trouble sometimes. Wright’s longtime “God Specializes” is an enthusiastic tribute to the quartet tradition and begins a series of praise gems. The eight-minute plus “Gospel Medley” launches with the emphatic “Everything Is Going to Be Alright,” than wraps up with the simmering blues-induced, “Hold On Just A Little While Longer.” ”Sweeping Through the City” captures the essence of Sweet Honey in the Rock’s power of acapella touched up with subtle percussion brushes. From the ethereal soundscapes of “All the Seeds” and “Feed the Seed” (originally recorded by indie pop/rock band Joan as Policewoman) to the country blues of Jimi Hendrix’s “In From The Storm,” the musical continuity on Fellowship is well-thought out. The absolute icing on the cake is Wright’s contemplative interpretation of the beloved “Amazing Grace,” which honestly outdoes many of the other recorded versions.

A stellar supporting cast that includes Dr. Reagan, Angelique Kidjo and long time musical friend pianist Kenny Banks touch up this wonderful canvas called Fellowship. As for Wright, her acute sense of musicality shines through once again, molding two sacred genres – jazz and gospel – into a vocal defying experience that music fans from all walks of life could gravitate to.

Peggy Oliver
The Urban Music Scene