Told ya.

At Carnegie she did the duet on "Amazing Grace" with pianist Kenny Banks, not Sewell. (Did Kenny not make the Brussels hit?) You're right that it's not necessarily the most, um, inspired selection (though she certainly kills it), but the guitar thing is interesting, and I suspect it really takes it out of the church. I would have liked to have heard that.
DJA | Homepage | 29.06.06 - 18:51 | #

The band was Jeffrey Haynes on a hybrid hand/sticks kit, Marc Miller on what looked like (from my distant, second balcony vantage point) a hollow-body stand-up electric bass and two guitarists, Edward Wright and Sewell (both good, but Sewell was more interesting, with Wright holding down the more "routine" parts and adding some backing vocals).

"Amazing Grace" was in that space between the church and the blues, in a very open, flexible space. The effect was amazing. Perhaps it's precisely because the song is so hackneyed that its effect was so immediate, even if you're thinking "yeah, but it's Amazing Grace" at the same time.

My review probably doesn't make clear enough how awesome I found Lizz Wright. Much of the time, I was very, very touched.
mwanji | Homepage | 30.06.06 - 9:08 | #