Origin: united states
Territories: DE, AT, LU, Eastern Europe
Availability: Jul, Nov 2019
In life and in music, McLorin Salvant’s path has been unorthodox. The child of a French mother and Haitian father, she was raised in the rich cultural
and musical mix of Miami. She began formal piano studies at age five and started singing with the Miami Choral Society at age eight. Growing up in a bilingual
household, she was exposed to a wide variety of music from around the world through her parents wide-ranging record collection. While jazz was part of
this rich mix, her adolescent and teenage years were focused on singing classical music and Broadway. Following her desire to study abroad, she enrolled
in college (Aix-en-Provence in the south of France) to study opera and law. Ironically, it was in France that McLorin Salvant began to really discover
the deep roots of jazz and American music, with the guidance of instructor and jazz saxophonist, Jean-François Bonnel. Bonnel’s mentoring included bringing
McLorin Salvant stacks of CDs, covering the work of jazz and blues legends as well as its lesser-known contributors. Working through these recordings,
McLorin Salvant began building the foundation needed to thrive and occupy a special place in the august company of her predecessors.
Critics praise McLorin Salvant’s gifts as an interpreter of popular song. “The marvel of Cécile McLorin Salvant is the complexity of her point of view as an artist,” writes David Hajdu in the pages of The Nation. “Like most jazz and cabaret singers, she works in a milieu that is essentially interpretive…But she chooses her material so astutely, and interprets it so adroitly, that the songs come across like the personal expression of an idiosyncratic individual with an utterly contemporary sensibility.” She inhabits the inner life of a lyric, shading them with subtle, often ironic poignancies through the use of vocal inflections, improvisations, varied phrasing, and articulation. Fred Kaplan of the New Yorker praises her “emotional range” and her ability to “inhabit different personas in the course of a song, sometimes even a phrase – delivering the lyrics in a faithful spirit while also commenting on them, mining them for unexpected drama and wit." In McLorin Salvant’s own words, “I think there is a lot of room for improvisation and surprise while still singing the lyric, and when that is successfully done it can express a great deal of emotion and reveal the different layers in the music and in the text all at once.”
Her newest release, The Window, an album of duets with the pianist Sullivan Fortner, explores and extends the tradition of the piano-vocal duo and its expressive possibilities. With just Fortner’s deft accompaniment to support McLorin Salvant, the two are free to improvise and rhapsodize, to play freely with time, harmony, melody and phrasing.
Thematically, The Window is a meditative cycle of songs about the mercurial nature of love. The duo explores the theme across a wide repertory that includes Richard Rodgers and Stephen Sondheim, the inner-visionary Stevie Wonder, gems of French cabaret, and early Rhythm and Blues, alongside McLorin Salvant’s brilliant, original compositions. Just as a window frames a view—revealing as much as it hides, connecting as much as it separates – each song on the album offers a shifting and discerning perspective on love’s emotional complexity. McLorin Salvant sings of anticipation and joy, obsession and madness, torment and longing, tactics and coyness. The Window traverses love’s wide universe, from the pleasure of a lover’s touch with its feelings of human communion, to the invisible masks we wear to hide from others and from ourselves.
Touched at every moment by McLorin Salvant’s brilliance, The Window is a dazzling new release from an artist who is surely, to quote Duke Ellington, “beyond category.”
"she sings clearly, with her full pitch range, from a pronounced low end to full and distinct high notes, used sparingly [...] Her voice clamps into each song, performing careful variations on pitch, stretching words but generally not scatting; her face conveys meaning, representing sorrow or serenity like a silent-movie actor."
Ben Ratliff, The New York Times
"You get a singer like this once in a generation or two."
“Salvant has a supple, well-trained voice with spot-on pitch. (No vibrato-teases; no meandering warbles passing as melisma.) Her low notes go from husky to full-bodied; her high notes float purely and cleanly. When she scats, it’s not an ego trip but a musical game, where notes and syllables get to shape-shift.”
The New York Times Magazine