Grammy winner for Best Jazz Vocal Album “The Window” (2018) in the 61st Grammy Award ceremony
La 61e cérémonie des Grammy Awards se tenait dans la soirée du dimanche 10 février 2019 aux Etats-Unis. La chanteuse franco-américaine Cécile McLorin Salvant y a été primée pour la troisième fois. La chanteuse Cécile McLorin Salvant a été récompensée du prix du meilleur album de jazz vocal pour son disque The Window. C’est le troisième Grammy pour l’artiste franco-américaine, après For One Love (2016) et Dreams and Daggers (2018).
Salvant took home her third consecutive Best Jazz Vocal Album win for The Window, a duo album with pianist Sullivan Fortner.
American soprano Jessye Norman just announced that she has chosen jazz singer Cécile McLorin Salvant as the next recipient of the Glenn Gould Protégé Prize. Norman was awarded the 12th Glenn Gould Prize in 2018, which gave her $100,000 and the honour of choosing the recipient of the Protégé Prize this year. Worth $15,000, the prize is given to "an outstanding young artist who shows the promise of an exceptional lifetime contribution to enriching the human condition through the arts" — similar to the promise of a young Glenn Gould. “Singer, songwriter…a unique voice supported by an intelligence and full-fledged musicality, which light up every note she sings," Norman explained via statement. "There is an intense, yet quiet confidence in her music-making that I find compelling and thoroughly enjoyable."
L'Académie Charles Cros a rendu public ses grands prix du disque avec un prix jazz qui est revenu à la chanteuse Cecile mcLorin-Salvant pour son album, The Window.
Victoires du jazz 2018 Cécile McLorin-Salvant a été désignée Voix de l'année.
Cette jeune chanteuse américano-française de 29 ans,lauréate du Thelonious Monk Institute of Jazz en 2010, a déjà reçu outre-Atlantique le Grammy Award 2015 du meilleur disque jazz de l'année avec "For One to Love", puis le Prix Django-Reinhardt du meilleur musicien de jazz français de l'année 2017 décerné par l'Académie du Jazz. Elle vient de publier "The Window", son quatrième disque studio en huit ans, en duo avec le pianiste néo-orléanais Sullivan Fortner. Un film documentaire de portraits des lauréats, filmés en concert, en tournée et différents lieux, sera diffusé sur France 3 dans la nuit du samedi 1er au dimanche 2 décembre (horaire à préciser).
...That certainty was emboldened at the 60th Grammy Awards, where she took home her second Best Vocal Jazz Album statue for Dreams and Daggers. You see, two years earlier Salvant, at age 26, became the youngest woman to win the prize in that category for her virtuoso performance on For One to Love, her third album. This was her third Grammy nod, having caught critic's attention, and the ultimate musician’s prize voters with WomanChild (Mack Avenue Records), her second CD. Essence Magazine -Patrik Henry Bass - Jan, 31, 2018
60th Annual GRAMMY Awards (2017) - Cécile McLorin Salvant Wins Best Jazz Vocal Album Dreams And Daggers
(Nominations 3 - Wins 2)
Académie de Jazz Palmarès 2017 - Musicienne française de l’année : Cécile McLORIN SALVANT, vocaliste | Prix Django Reindhart
Au cours de la soirée organisée le 12 décembre 2017 au Goethe Institute de Paris, sous la présidence de François Lacharme, et en présence de Claude Carrière, Président d’Honneur, L’Académie Du Jazz a décerné ses prix pour l’année écoulée. Leur remise a eu lieu lors de la soirée de gala organisée le dimanche 21 janvier 2018 au ’Pan Piper’, 2-4 Impasse Lamier, Paris (11ème)
La meilleure chanteuse de jazz de la planète serait-elle française ? Autrefois, cette question aurait été impossible à poser sans se couvrir de ridicule ; aujourd’hui elle est pertinente grâce à Cécile McLorin Salvant. Il n’aura pas fallu quatre ans à cette jeune femme née à Miami d’une mère française et d’un père haïtien pour s’imposer sur la scène internationale et devenir, à 28 ans, une de ses vocalistes les plus demandées. Paris Match| Publié le 12/01/2018 à 08h02 Par Sacha Reins
Qu’elle chante des standards de jazz ou des airs de Piaf, Cécile McLorin Salvant illumine de sa voix chaude et facétieuse toutes les partitions. À l’occasion de la sortie de son dernier album, portrait d’une artiste virtuose qui voit l’avenir en grand. Elle a le sens de la couleur. Celle de son vestiaire d’abord, robes et tuniques rouge, verte, jaune acidulé, de ses lunettes qui suivent ses états d’âmes, bleu ciel, rose ou anthracite. De ses pastels, enfin, car Cécile McLorin Salvant, en sus d’être une voix, est une graphiste hors pair. Elle a exposé à New York et vendu plus d’une œuvre. Elle dessine, elle a l’œil, de l’oreille, elle a beaucoup de talents. À 28 ans, elle a déjà remporté le Grammy du meilleur album de jazz (2016), et fut en 2010 la plus jeune artiste lauréate du prestigieux concours de chant jazz au Thelonious Monk Institute, adoubée par un jury composé de pointures comme Dee Dee Bridgewater et Al Jarreau. Air France Magazine Janvier 2018 par Philippe Trétiac
Cécile McLorin Salvant’s Timeless Jazz - Only a few years into her career, the singer has absorbed the music’s history and made it her own.
The New Yorker by Fred Kaplan - Onward and Upward with the Arts - May 22, 2017 Issue
by By MARGO JEFFERSON The New York Times Magazine - March 12, 2017
#19 The Trolley Song "I said she’s in “command of” the jazz tradition. Better to say she’s in communion with it. I like how she listens. I like how she tests herself and learns as she performs. 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."
Winner of the 20th annual Jazz Journalists Association Jazz Awards Female Singer of the Year
Los Angeles Times by Chris Barton, February 15, 2016
...26-year-old jazz vocalist Cécile McLorin Salvant, ...came back to earn honors this year for her lauded album "For One to Love."
"I had a hole in my voice. I still do. We call it a hole, but it's an area in the voice where it's air. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in the middle area, it was really hard. There was like a passage. But I realized that in jazz, I could take advantage of that." Listen and read more : NPR's Fresh Air with Terry Gross by Terry Gross, November 04, 2015 1:34 PM
The bespectacled, always stylish and sometimes theatrical Cécile Mclorin Salvant is a jazz phenom with a voice that we guarantee will subdue you. The Grammy-nominated singer has a clear intention to bring jazz back to the forefront of the minds of young Black people in the US. Read more: Essence Magazine by Latheleene Ademola Brown, Tuesday, October 20, 2015
Salvant can warble in French and growl her way through old blues belters, but she’s even better at recasting standards
It chimes with her original songs, all heart-tugging poems on unrequited love. It’s an exhausting but thrilling voyage. Read more: The Guardian by John Lewis, September 3, 2015
‘For One to Love’ by Cécile McLorin Salvant Review : Cécile McLorin Salvant is a young talent with a singularly arresting voice.
..Along came Cécile McLorin Salvant, who first suggested herself as an exception in 2010...She has such a voice. Yet she also found her own unique identity, which is what most separates her from her peers. It’s not as if Ms. Salvant hasn’t drawn from famous predecessors. She evokes Vaughan when she releases a taste or two of lush vibrato. She sounds a bit like Betty Carter, swooping up or down between notes to make a point; like Ella Fitzgerald, when she revels in an up-tempo groove. Yet these seem less like references than inherited traits...It’s enough to make a listener care all over again...Read the full piece from : The Wall Street Journal by Larry Blumenfeld, September 2, 2015
Double miracle donc, celui d’une voix comme le jazz et l’art vocal en a très peu connu sur le plan de la qualité, et celui d’une personne d’une maturité artistique confondante
Les superlatifs sont de mise quand on rencontre une jeune artiste d’une telle intensité et d’une telle intégrité artistique, d’une telle capacité créative, dans une époque qui en manque singulièrement. En mettant la barre toujours plus haut, sur le plan de l’expression en particulier qui expose l’ensemble de ses qualités, Cécile McLorin Salvant s’impose pour la suite un challenge d’excellence...Lire la suite sur : Jazz Hot par Yves Sportis, Septembre 2015
It is therefore a double miracle: that of a voice that the jazz and vocal world have rarely seen in terms of quality and that of a person with a stunning artistic maturity Superlatives are in order when you meet a young artist with such intensity, artistic integrity and creative ability, especially in an era which is particularly lacking those attributes. In raising the bar even higher, especially in regards to her interpretation which reveals all of her qualities, Cécile McLorin Salvant is self-imposing a challenge of excellence for the future..
Salvant's aesthetic idiosyncrasies immediately mark her apart, even within the space of "jazz singing." She's long had a predilection for finding rowdy songs from the dawn of the music to grow into — not exactly common for a twentysomething jazz musician — and that continues here...Read the full piece from : NPR First Listen by Patrick Jarenwattananon, August 26, 2015
Cécile McLorin Salvant, the finest jazz singer to emerge in the last decade, combines the rigorous sensitivities of an artist with the wary calculation of a critic. Her whole bearing as a performer — judicious, confiding, theatrical, skeptical — suggests a watchful distance from the persona she so persuasively embodies. By Nate Chinen, The New York Times, August 26, 2015
If you're a fan of jazz singers, please note that Salvant, age 25, already stands with the best. Her organ pipe chest voice is a resonant match for Sarah Vaughn in high diva mode. Her harmonic imagination and vaulting dynamic shifts are a match for those of Betty Carter. And, when she swings, she walks the same clouds of joy trod by Ella Fitzgerald -- as she demonstrated on Friday at the New Orleans Jazz and Heritage Festival presented by Shell...And, Salvant owns something that none of those great, departed singers can offer: the fresh perspective of a savvy post-modern thinker who has digested the entire repertoire and uses it to tell her own stories. By Chris Waddington, NOLA.com | The Times-Picayune May 2 2015
Resoundingly eloquent, whether growling the blues or barely breathing, Salvant has inbuilt swing, an actor’s stagecraft, an instrumentalist’s precision of nuance, and an appetite for dusting off rarely performed songsThe remarkable Salvant’s music is tightly arranged in almost every spontaneous-sounding detail, but it’s jazz-informed artistry of the highest class just the same. John Fordham The Guardian Thursday 4 June 2015
Female Vocalist of the Year
Up and Coming Artist of the Year
Singer-songwriter Cécile McLorin Salvant topped four categories in the 62nd Annual DownBeat International Critics Poll, including Jazz Album of the Year. Besides honoring her U.S. debut, WomanChild (Mack Avenue), as the year’s best jazz album, critics named her the top Female Vocalist, as well as the Rising Star–Jazz Artist and Rising Star–Female Vocalist
Up and Coming Artist of the Year - Best Female Vocalist of the Year
GRAMMYS 2014 Grammys: Jazz nominees look to new voices By Chris Barton December 6, 2013, 8:40 p.m. The LA Times
The jazz vocal category is led by 24-year-old phenom Cécile McLorin Salvant, whose ebullient "WomanChild" was nominated along with Gregory Porter's "Liquid Spirit," which was the big-voiced singer's Blue Note Records debut. The pair compete against Tierney Sutton, Lorraine Feather and Andy Bey, who at 73 released the spry "The World According to Andy Bey."
Prix du Jazz Vocal :
CÉCILE McLORIN SALVANT « WOMAN CHILD » (Mack Avenue/Universal)
Recently, a 25-foot-tall photograph of the jazz singer Cécile McLorin Salvant has been on view outside the main entrance to Jazz at Lincoln Center, at 60th Street and Broadway. Such a distinction happened quickly by jazz-world standards. She’s 24, and her first album with any distribution, “WomanChild” (Mack Avenue), came out only six months ago. But it’s not surprising that Jazz at Lincoln Center should want to go out on a limb to promote her. Though she writes her own songs, she puts original, idiosyncratic and virtuosic force on old repertory, some of it from the high era of American songbook standards, some of it older than jazz itself.She’s the latest answer to the question of what jazz has to do with you. She’s featured in “Big Band Holidays,” Jazz at Lincoln Center’s seasonal program of standards and holiday songs, which goes on an 11-city tour this year; in the middle, it stops for three shows at its home base. (8 p.m. Thursday through Friday, 2 and 8 p.m. Saturday, Rose Theater; jalc.org.). Ben Ratliff The New York Times December 6, 2013
Cécile McLorin Salvant makes it all sound not effortless exactly, but sorta easy. You get the strong impression she's having a blast. In a way, that ease of execution is a problem — it creates the temptation to top herself and go for the Extra Big Moments, like the killer high-note ending of "What a Little Moonlight Can Do." It makes sense that she'd exploit her extreme highs and lows; she won't be able to reach them forever. And age tends to calm folks down, so the over-exuberance may take care of itself. My point is this: Salvant doesn't need to try to knock us out. We're already knocked out. Kevin Whitehead NPR June 18, 2013 1:42 PM ET
In Jazz Hot (n ° 654) readers had already been introduced to Cécile McLorin Salvant, an extraordinary revelation of contemporary vocal jazz. Since that article, the French-American artist has made her way into the United States and Europe, the result of course of her winning the highly acclaimed Monk Institute Competition. Because her voice possesses amazing expressive authenticity coupled with outstanding control, her discovery as a mere guest in North American venues is inevitably followed by dithyrambic articles that seem to forget that she was there only because of a random invitation … or because of the unavoidable artistic consequence of her power and depth. Wynton Marsalis and Jazz at Lincoln Center are full of praise as is the West Coast and East Coast press (The New York Times...). And now comes the second CD (see Jazz Hot n ° 655 for the first), which inaugurates her new American career with an outstanding band, accomplishing the exploit of combining tradition and modernism of sound, delivering the themes without mannerism. The presence of Herlin Riley and Rodney Whitaker as in "John Henry” a formidable base for the inventory of James Chirillo’s great classicism as in "St. Louis Gal"(James has worked with Benny Carter, Benny Goodman, Kenny Davern, Marcus Roberts...), and Aaron Diehl’s original harmonies as in "Woman Child" (Aaron has played with Wynton Marsalis and teaches Jazz at Lincoln Center), add beautiful ageless ambiance to the sincere and unpretentious vocal virtuosity of Cécile McLorin Salvant. Her artistic maturity (miraculous at her age) is combined with her cultural intuition and the juvenile impulse of a singer barely entering her twenties. She already possesses what is exceptional: an accomplished artistic personality.The opening duet with James Chirillo confirms a natural blues idiom and the innovations are as present in "John Henry" as in more contemporary harmonic themes. The unique handling of the old standards like "Jitterbug Waltz “and "What a Little Moonlight Can Do“ never disregard the melody, a reminder of the voice of a young jazz Diva. Herlin Riley is a great percussionist in “You Bring Out the Savage in Me" or "Baby Have Pity on Me"...; James Chririllo enriches with flawless taste the melodies "St. Louis Gal" and "Baby Have Pity on Me"...; Rodney Whitaker’s beautiful sound sustains everything; listening to Aaron Diehl is evidence of his ability to adapt to extreme variations. This singer excels throughout, shamelessly in command, an accomplished musician with a timeless and authentic artistic vision of jazz. Breaking with the rest of the disc, "Le Front Caché sur tes Genoux" is an oddity sung in French, with a perfect accent and for a good reason, it is her second mother tongue. The mood and the tone are also very French, as in lighter.While her current surroundings are of high quality within the Lincoln Center environment, the truth is that we no longer have major producers who are also jazz connoisseurs, therefore this young artist will have to use her artistic convictions, as well as her great intelligence, to develop what is essential in her and which makes her so exceptional. (translation LML)
Cécile McLorin Salvant spun songs into a brilliant silk tapestry at the Allen Room on Saturday evening, I thought, “Here she is.” If anyone can extend the lineage of the Big Three — Billie Holiday, Sarah Vaughan, and Ella Fitzgerald — it is this 23-year-old virtuoso . Ms Salvant has it all: perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics. She fearlessly bends notes, but always toward an expressive purpose, and her scat improvisations are not the kind of vacuous ornamentation that has become the bane of contemporary jazz singing. Her temperament is sunny, but she is no simpering Pollyanna.
Cécile Mc Lorin Salvant, pour la première fois de sa vie, rentre dans son pays d’origine où elle se présentera un concert unique, au Ritz Kinam II, à 8 heures du soir. Fred Paul, à qui nous devons l’organisation en Haiti du spectacle de Cécile Mc Lorin Salvant, en parlant de ce show, a souligné que « Jamais Haiti n’a reçu un artiste de ce calibre qui soit d’origine haïtienne ». A quelques semaines du sixième festival de jazz de Port-au-Prince - festival auquel l’agenda de Mc Lorin Salvant ne lui permet pas de participer - ce concert représente une bonne et belle attraction pour les aficionados. La chanteuse née d’une mère française interprètera des thèmes en français, en anglais - les standards c’est l’enfance des jazzmen – et en créole.
Cécile McLorin Salvant, Jazz Vocalist, Tweaks Expectations - ...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. ..Onstage she moves within a small perimeter and talks evenly, mostly in facts, to the audience. She has short hair and white, thick-framed glasses; she smiles easily, but doesn’t have the typical mannerisms of many younger jazz singers — conciliatory, or flirty, or mystical. Ms. Salvant is as serious as a library, and never corny.She radiates authority and delivers a set with almost a dramatic arc.
Le Blog d'Alex Dutilh - Radio France
"Mais au sein de ce magnifique concert de Jacky Terrasson (avec un Minino Garay des grands jours et la révélation d'un superbe très jeune batteur, Justin Faulkner, Cécile a livré trois moments de grâce. Sur Oh, My Love de John Lennon, Je te veux d'Erik Satie et en rappel Love for Sale, le standard de Cole Porter, Cécile nous a fait dresser les poils sur les bras. De son timbre empli d'harmoniques avec une légère granulation en guise de signature, elle fait un véhicule d'émotion. Parce que ses inflexions sont désarmantes de musicalité (la classe de Sarah Vaughan, l'instinct de Betty Carter, les graves de Carmen McRae). Le détail de son ultime "saAaAle" pour finir le rappel donnait la mesure de son immense potentiel. Ré-vé-la-tion !!!
Elle vient d'enregistrer un CD qui paraîtra au début 2013 pour le label Mack Avenue avec Aaron Diehl, Rodney Whitaker, Herlin Riley et James Chirillo. On attend."
Olivier Nuc - Le Figaro
"But throughout Jacky Terrasson’s magnificent concert (with Minino Garay at his best and the fabulous young drummer Justin Faulkner), Cécile delivered three moments of grace. On John Lennon’s “Oh, My Love”, Erik Satie’s “Je Te Veux” and the the curtain call of Cole Porter standard “Love for Sale”, Cécile made the hair on the back of our necks raise. Her timber filled with harmonics with a slight granulation as a signature, she produced a medium of emotions. Because her inflections are disarmingly musical (with the class of Sarah Vaughan, the instinct of Betty Carter and the dark lows of Carmen McRae). The details of her last "saAaAle" that ended the curtain call gave the measure of her massive potential. Re-Ve-la-tion! She has just finished recording a CD to be released early 2013 for the Mack Avenue label with Aaron Diehl, Rodney Whitaker, Herlin Riley and James Chirillo. We will be waiting.”
"Jacky Terrasson est d'abord et avant tout un inconditionnel des mélodies. «Ce sont elles qui portent tout.» C'est selon ce critère qu'il s'est amusé à s'approprier des compositions d'autres musiciens, notamment Oh My Love, somptueuse ballade de John Lennon. La chanteuse Cécile McLorin Salvant lui a fait découvrir cette pièce. Révélation du disque, cette jeune surdouée a convaincu Terrasson d'en donner une version. «Pour moi, le but c'est de s'approprier les reprises en restant musical et ludique. Je ne cherche jamais à choquer, même si j'aime surprendre» avoue-t-il. Ensemble, ils revisitent également Satie, à travers Je te veux, au texte très sensuel écrit par Henry Pacory."
Mark Stryker - Detroit Free Press Music
"Best Ballad: Cecile McLorin Salvant on Sunday sang a poised and devastating a cappella chorus of Jerome Kern and Otto Harbach's "Yesterdays." It was filled with a range of subtle inflection, color and understanding way beyond her 23 years."
« It's not often you feel you're in the presence of greatness but there was probably not one person in the Salon Elegance tent on Thursday night who did not sense they were in close proximity to a great new voice. The 22-year-old singer Cecile McLorin Salvant is quite something to behold. She has an extraordinarily versatile voice which mesmerized the audience whether she was singing a gentle ballad or putting over a sexy, salty blues…her habits of distorting vowels, plunging deep into her range and making unexpectedly ugly sounds were used to powerful, dramatic effect, underlying her disgust at the scene she was depicting…Many of the songs may have been from the 1920s and 1930s, but Salvant brought them vividly back to life – and, what was surprising was the agelessness about her performance: only such jubilant, energetic numbers as the wonderful Valaida Snow song I Can't Dance (I Got Ants In My Pants) and What A Little Moonlight Can Do served as a reminder of the fact that she is not an older singer.»