Searching for Lizz Wright’s groove
Wright must be a delight to work with in the studio. It’s probably no coincidence that they now share the same producer, Craig Street, who seems to have a gift for matching vocalists with talented session musicians and songs to cover. And sure enough, The Orchard boasts some wonderful re-workings of everything from Ike & Tina Turner’s “I Idolize You” to Led Zeppelin’s “Thank You.” (Fans may also recall her brilliant reworking of the ’60s anthem, “Get Together,” actually titled “Everybody Get Together,” popularized by the Dave Clark Five.) Technically speaking, Wright is arguably as proficient as any alto out there, and that includes another to whom she’s compared, Cassandra Wilson. She can wring vibrato from the lowest, huskiest notes without every sounding flat or without resonance, and she almost never cheats on a note. She has an uncanny ability to fill her tones with the kind of warmth that make altos such a delight. And she almost never, ever tries to over-sell a song.
But in a weird way, this last strength in the studio seems to become a weakness when she performs live, because Wright tends to hold back in a way that leaves the audience wanting more. Now, take this as one cynic’s opinion; I’d argue a solid majority of the Center Stage audience would disagree with me. But from the moment she took the stage to her encore, Wright barely made an attempt to connect with her obviously appreciative audience, or to take a song to another level - beyond the studio version.