Cécile McLorin Salvant may or may not have a mermaid’s tail or a pair of wings sprouting from her back.
“My Mélusine wanted her privacy, her room of one’s own, and that gets betrayed. It’s this thing of how difficult and contradictory it is to be in a woman’s body. It can be uncomfortable, even scary. You might want to be invisible. Or you might want to be seen and desired.”a handful of times since debuting the piece at the Metropolitan Museum of Art in 2018.
Jazz, for Salvant, isn’t only about singing, even if her voice is an instrument so pristine, elastic and all-stops-out glorious it has critics swooning. In 2017 the revered jazz trumpeter/educator Wynton Marsalis declared,“You get a singer like this once in a generation or two.
On a whim, she took up jazz. The more she listened to the likes of Carmen McRae, Abbey Lincoln and Bessie Smith, divas celebrated for their wise-cracking lines and note-bending renditions, the more it appealed. Her teacher, a reeds player, was so dazzled by Salvant’s prowess that he formed a band, Cécile & the Jean-François Bonnel Paris Quintet, and released an album in 2010.
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