The issue with writing about French/American vocalist Cécile McLorin Salvant is that successive superlatives evoke eye rolling. I assure you that each and every adjective is deserved. With a nearly four octave range and extraordinary sensibilities, this remarkable artist takes on a vast array of material making every song distinctively her own. One comes away having heard even the familiar in a different, more vivid way.
“I was lucky enough to grow up in a house where we listened to all kinds of music. We listened to Haitian, hip hop, soul, classical jazz, gospel and Cuban music, to name a few. When you have access to that as a child, it just opens up your world.” (Salvant)
A vision in ruffled hot pink, the artist opens with a plumy rendition of Duke Ellington/Mitchell Parish’s iconic “Sophisticated Lady.” Phrases stretch like warm taffy. “I sang this at my sister’s wedding and didn’t understand it at all. Years later, I think I have a grasp on it…” introduces a dramatic “Send in The Clowns” (Stephen Sondheim). “They’re still married,” she assures us. Low key and charming, what’s volunteered between songs is welcome.
Rich, complex arrangements for this evening’s program are by Darcy James Argue, a talent conceivably familiar only to those steeped in musical innovation.
Billy Strayhorn’s “Lush Life” emerges slooow. Bass sounds like a flight of bees. Piano shadows. Every enunciated lyric is important. Salvant strolls across the stage bending and looking up as if music courses through her whole being. She’s immersed.
Cécile McLorin Salvant and Chris Thile
The artist welcomes mandolin musician Chris Thile who gambols in like Puck. Connie Converse’s “Talkin’ Like You/Two Tall Mountains” is animated. The performer moves like an S shape. “Many’s the time I’ve been mistaken /And many times confused… (Salvant shrugs.) “Yes, and I’ve often felt forsaken /And certainly misused…” “American Tune”- Paul Simon – is offered by piano, mandolin and voices. It’s as if we’ve never heard it before. The Knights then play Ravel – a palette cleanser. Nuance and precision are singular.
“Barbara’s Song” (Kurt Weill/Bertolt Brecht – Threepenny Opera) is a scene in one. Prowess is sharp-edged: “And since he could not treat me as a lady/I could not say no,” she sings passionately. “With Every Breath I Take” (Cy Coleman/ David Zippel – City of Angels) glides on piano glissandi. Even full out, Salvant’s tone is never harsh or brassy. She looks into faces she can see.
Regaling us with the plot of Michel Legrand’s Les Parapluies de Cherbourg/ The Umbrellas of Cherbourg, she sings in French. “If it takes forever I will wait for you…” arrives with voracious longing as if a dam had broken.
Sullivan Fortner and Cécile McLorin Salvant
Thile returns for a duet of “Ever Since the One I Love’s Been Gone” by jump pianist Buddy Johnson. Salvant melodically wails the blues painting in broad strokes. There are three encores. Packed to the rafters, the hall would’ve stayed if the artist had indulged.
An exceptional evening by exceptional performers. Cécile McLorin Salvant is thrilling.
Photos by Stephanie Berger
An Evening Cécile McLorin Salvant: With Every Breath I Take
Arrangements by Darcy James Argue
The Knights: Colin Jacobson-Artistic Director
Sullivan Fortner- Piano, David Wong-Bass, Kush Abadey- Drums
With Special Guest Chris Thile-Mandolin
COMING: May 21 at 7:30—last in this series
Carnegie Hall
57th Street at 7th Avenue
