MONDAY THOUGHTS: THE REFRESHING SOUND OF LIZZ WRIGHT

I was so excited this morning, when my “Vision” brother, Byron Nichols, reminded me to take a listen to samples from Lizz Wright's new project, "Fellowship". 

I listened, and couldn't help notice how timely it was, as well as beautiful and thought-provoking. 

I've been an enthusiastic fan of Lizz Wright's music for about seven years. 

I looked to see if the review I'd written for DC vocalist, Dawn Robinson's webzine, vocalmusician.com was still online, and it was. (I love the hoarding spirit of the internet! It lets go of NOTHING…lol)

If you'd prefer to skip the reading, and just dive into the listening, click on the title of this blog, go to Lizz Wright's Facebook page, "LIKE", and listen. You won't be disappointed. 

Here's what I felt, seven years ago. Not much has changed, except Lizz Wright is no longer an obscure talent. I think that's grand, because you KNOW how I adore good singing, and music of substance.

LIZZ WRIGHT at The Kennedy Center and Blues Alley

On May 10th, my sister Lori called and asked, "What are you doing?" 

Of course, I was doing nothing, which is my usual posture when I have a chance to be at home. 

"I have tickets to the Mary Lou Williams, Women in Jazz Festival”, she said. "Teena Marie is supposed to be singing tonight. Wanna go?"
I thought I could use a little "Square Biz", for old time sake, so I got dressed and went with her. 

The first offering for the evening, was a wonderful female saxophonist. I'm ashamed that I can't recall her name. 

Unfortunately, Teena was a no-show, but there's not much else I remember about that night, except Terri Lyne Carrington’s skill on drums, and the unexpected but memorable performance by a modestly dressed, beautiful little girl. She was wearing a long black skirt, burgundy wrap blouse, and flip flops.
She was thin, articulate, and poised. She didn't say very much, other than very humble "Thank you's" to the thunderous applause that rose after each tune. When she did utter words, like very brief introductions to her songs, and acknowledgement of those accompanying her, it wasn’t hard to appreciate the tonal quality of her speaking voice as well.

She sang our souls happy, with a little neo soul/pop/jazz smothered in church gravy, then gracefully disappeared behind the curtains. 

I was glad that I wasn't the only one on my feet, clapping like a crazy person, until she figured we hadn't had enough, and floated back to her mark. 

I didn't even realize I was in tears.

After she left the stage, again, there was chatter going on between total strangers. 

"Is that all?" 

"Who was that?" 

"Oh my, God!" 

"Have you heard her before?" 

People were reaching for their programs; trying to see in the dark. Programs were tilted and lifted, as everyone was trying to catch a glimmer of light, to illuminate the name of the little girl who'd just left us so moved.

"How can you lose your song, when you have sung it for so long? And how can you forget your dance—your dance—when that dance is all you ever had?"

Audience members left the auditorium, and flocked to the tape tables in the lobby, during intermission, only to find that the little girl hadn't brought any product with her. 

We'd all have to wait.
Over and over, like an echo, I heard, "May 13th?" "When?" 

"Someone said May 13th" 

"I think it's May 13th."

What's her name?" 

May 13th couldn't come fast enough for me.
Her name was LIZZ WRIGHT. 

I suppose I've referred to her as the "little girl" for the following reasons:
1. Because she's little (not short, mind you. She just, apparently, hasn't discovered the joy of eating the entire bag of potato chips, or pint of ice cream.)
2. Because I'm almost twice her age, (so I'm entitled)
3. Because I left the Kennedy Center proud to see a young Black woman present herself, and operate in her gift so effectively, without relying heavily on the marvels of modern audio technology, or falling prey to "hoochification" (translation: presenting oneself in a manner that would disgust a seasoned stripper, and declaring to the masses, in tacky song and deed, that it is necessary to master an even more incoherent brand of English, and glorify profane crap.

Yes, I am somebody's mother. Sue me.)

I hurried to "Sam Goody" to pick up her debut CD, “Salt”, and bought three.

I recommended it to the shopper next to me, and she bought it, too. 

I gave away the three I’d bought, within 48 hours. 

I went to "Willies Records", and bought two more. I gave those away. 

I picked up another one, that I was determined to keep for myself. I gave it to my daughter, who gave it to a friend of hers.

"Willie's" announced that its local stores were going out of business. I bought the last three copies of “Salt” left, at the store in my neighborhood. 

I replaced my daughter's CD, put the other one, unopened, in my CD tower, and put the third in my CD changer.
It only came out to go with me to Blues Alley, to be graced by Mizz Wright's autograph. 

I've since ordered two more online. 

When I mentioned her name, in a conversation about singers, during a recent “Vision” trip, Richard Smallwood, himself, perked up in agreement to how impressive she is. 

He'd already had some “Salt”, and he recalled his "Lizz moment" in a record store.
He said that, at the register, he asked the sales clerk about the music playing over the speakers. He asked if it was something new, by another favorite, Oleta Adams. The sales clerk said, "No, it's a new artist - LIZZ WRIGHT." 

Richard said that he told the clerk, "I need that! I'll take that, too". 

His story prompted others to pick up “Salt” at the airport record store, after we landed.

A friend suggested that, perhaps I had been just oozing "mother pheromones" at The Kennedy Center. Maybe I was just wondering what I could have, or should have been doing, musically, when I was 23. Maybe I was just admiring her boldness and good fortune at such a young age.

I hadn't bought that many CD's, by one artist, since Maurette Brown-Clark released “How I Feel”. 

I wanted everybody to hear what I heard. 

I had to make sure I wasn't just in a melancholy, motherly, my-baby-is-coming-home-from-college-mood, that night at the Kennedy Center.
It wasn't a fluke. 

I wasn't just being polite. Lizz Wright was phenomenal; her voice was soaring, rich, and soothing - it was ministry. 

From torch-like, smoky, to playful, she gave so much more live, than the boundaries of the CD. 

The CD just hints at what I believe she can really do, but it in no way disappoints.

Another of Washington's best kept vocal secrets, Andrea Dumas, sent me an e-mail reminding me that Lizz would be at Blues Alley on September 3rd. 

Off I went with my daughter (who was born when Lizz was about 2 years old) to the 8 PM show. 

We met Andrea, and I think I ordered food, but I don't recall eating it. Lizz made her way to the stage, and proceeded to walk us through her CD.

Again, she didn't say much, which left lots of time for her to sing. It wasn't a fluke! I wasn't just emotional! 

She was just as terrific as she had been at The Kennedy Center, and the intimacy of the Alley just made it that much better. 

She didn't come with any of the vocal antics that seem to color what is now passing for singing. Every word, and phrase was deliberate and effectively delivered. There were no high high's, but the range she offered was wide enough. I hate to compare, because there is a definite uniqueness about her, but if I had to describe the evening, it was Oleta meets Lalah with a little Jill, Sarah, and Dianne… and everybody's 23.

"Walk With Me, Lord" wasn't an invitation to buck and shout, but a testament (without the actual testimony) that she definitely had a serious, genuine relationship with God. 

She wasn't merely infusing gospel with the Jazz set, making people wonder if she was confused, or unsure of her niche. It didn't seem as if she was groping for her own sound, by tackling different genres. She didn't slip it in as if to say, "Oh, by the way, surprise, I'm a Christian, and I sneaked in here to save everybody who’s straddling the fence”. 

There was honesty in her delivery. There was no need for apologies, theological bull, nor excuses to the saints, as to why she was in Blues Alley (and the saints were obviously there). 

It was clear that this young lady knows exactly who she is; her calling is sure, and wherever she goes, she need not alter herself to appease anyone.

Every song told a story; rose purely from her soul, and the peaceful, joyous look on her face said it all. 

From Brian Blade's arrangement of "Afro Blue", to the soulful "Soon As I Get Home", Lizz captivated the audience. She flashed a magnificent smile, that said she was enjoying where the songs were taking her, and we were going along for the ride.
"Open your eyes, you can fly!" 

Ok, Lizz. I believe you, child!

When she nodded to her pianist to play, "Salt", it was clear that everyone had been waiting for it. 

The CD delivers that little sermon-in-a-song marvelously, but Mizz Lizz put a little extra contralto stank on it at the Alley.
Poor thing tried to leave the stage, when her set was done, but everyone was on their feet, clapping and cheering, and literally making it impossible for her to maneuver her way to the staircase to her dressing room. All she could do was turn around, and take the stage for one last song- like we wanted her to. 

She laughed as she took the mike, and said we blocked her in on purpose. 

Yeah. We probably did…lol

Mel Prince was handling sound for the evening, and Lizz and her trio had just the right balance. 

The 10:00 crowd was milling in, and I realized I was still in my seat trying to decide whether my credit card could take another hit. Lisa, Andrea, and I had the good fortune to meet Lizz, and I have to admit, I haven't been so psyched about an autograph in a long time.

"What is it", you ask? 

You don't get it? 

Frankly, I just appreciate good singing. If you're looking to follow up the cabbage patch with the new electric slide, the “Salt” CD's not for you. 

If you're looking for a lot of smoke, mirrors, and visuals, that make you forget there's singing going on, Lizz live is not for you. 

If you know how to get into a zone, where you just want to be moved, need a little encouragement, or just want to applaud a young lady who is using her powers for good, then try a pinch of “Salt”. 

I can only imagine her getting better over the years. I hope her historic label, Verve, is investing for the duration.

Check out Lizz Wright on "Till Then", pianist Danilo Perez's new release, and revisit her on Joe Sample's "Pecan Tree". 

She'll be at  The Birchmere (in Alexandria VA), on Monday, December 1, at 7:30.  

Taste for yourself, if you don't want to take somebody's mother's word for it.