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Salvant’s Command of the Stage Is So Memorable, It’s an Account of Her Performing “If This Isn’t Love” at New York’s 88-Year-Old Village Vanguard – a Song Written in 1946 and Made Famous by 50S Icon Sarah Vaughan – That Opens Playing the Changes, an Excellent Collection of Essays by Former Npr Critic Nate Chinen Arguing the Vital, Insistent Claim That Jazz Has Entered a Newly Fertile Period of Relevance and Creativity in the 21St Century. “Salvant Shows She’s Neither Wrestling with Ghosts nor Shouldering the Weight of Obligation, ” Writes the Author. “Rather Than Evoke the Past from a Stance of Decorum of Deference, Salvant Is Bent on Stirring It up with Sly Intellectual Rigour. ”

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“I Was Brought up by Travellers, by Multilingual People, Curious People – People Who All Taught Themselves English When They Got to America – Foreigners, ” She Says, with an Emphasis That Glorifies Rather Than Disparages the Term. “Adaptable People, People Who Have Seen and Experienced Many, Many Different Cultures in Their Lives, [So I Gained] the Culture That Comes Back from Those Travels, and the Appreciation for Art, and Not Just Art but Folk Art, and Folk Music from All over the World. ”

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Shortly After Returning to the States, She Won the Prestigious Annual Thelonious Monk Institute of Jazz Award in 2010 at the Age of 21 – Only the Fourth Vocalist to Do So in the Honour’s Then-23-Year History. (The Event Was Renamed the Herbie Hancock Institute of Jazz Competition in 2019.) Three Year's Later, She Came out with Major-Label Debut Womanchild, and Her Coronation Came with Subsequent Outings for One to Love (2015) and the Sprawling Live Set Dreams and Daggers (2017) – Both Grammy Winners for Best Jazz Vocal Album.

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The Album Took a Long Time to Finish, but Was Recorded in Less Than 10 Days over a Six-Month Period in 2020. (“Most of That Half Year Was Spent at Home Watching Tv and Netflix, ” Says Salvant.) but the Pandemic-Era Vinyl Shortage Delayed the Release Until March 2022. “Now It Feels Rather Old, ” She Adds, “And Some of the Things I Was Hesitating to Do and Was Scared to Do – Should I Do a Kate Bush Song, Is That Crazy? – Now That Feels So Run of the Mill to Me. ”

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The Pandemic Was Both a Blessing and Curse for Salvant. Despite Obvious Frustrations, After a Decade of Relentless Touring, It Presented the Opportunity for Creative Renewal. “It Was Weird, but I Didn’t Mind It So Much Because I Got to Make Things and Be Creative in Ways That I Hadn’t Really Experienced Before – Everything, Art, Music, Whatever, Just Dilly-Dallying Creatively with Various Things, and Not Having an Audience to Think About, ” She Muses. “I Have a Tendency to Want to Please People a Lot, and Suddenly the People Were Gone, So It Was Just Me Pleasing Myself, and Making Things for Fun and out of Playfulness, out of Exploration and Experimentation … While It Felt Like There Was an Apocalypse Going on Outside. ”

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A Readily Quoted Reference Point for These Moments Is Fiona Apple’s Diy Home-Recording Experiments on Widely Feted 2020 Masterpiece Fetch the Bolt Cutters. Salvant Is Quicker to Praise Its Predecessor, the Idler Wheel, First Encountered a Decade Earlier. “When I Saw What She Did with That Album, I Said, “Wow, You Can Do That? ’ Firstly, the Writing Is So Direct – None of That Meandering Vibe That You Can Have in Some Singer-Songwriter Stuff – It Just Punches You Right in the Face, ” She Remembers. “But Also the Production Is Insane – Drums, Percussion – It Felt Like a New Level for Her, Like She Was Exploding into Something Different. ”

Inside Cécile Mclorin Salvant’s ‘Maximalist’ Musical Stylings: the 4-Time Grammy-Winning Jazz Chanteuse Taking the Genre into a New Era, with Folk Songs, Postmodern Cabaret and Auto-Tune – Interview

By Robert Thorne

• Oct 8, 2026 • 13 min read

Inside Cécile Mclorin Salvant’s ‘Maximalist’ Musical Stylings: the 4-Time Grammy-Winning Jazz Chanteuse Taking the Genre into a New Era, with Folk Songs, Postmodern Cabaret and Auto-Tune – Interview

Direct Answer • Key Takeaway

Indeed, Onstage, Salvant Appears Larger Than Her Form, Employing Not Just Her Unmistakable, Scale-Sailing, Velvety Voice, but the Full Force of Her Body, from Dramatic Arm Gestures to the Flicker of Eyelids, to Physically Inhabit Whatever Song She Is Singing. a Storytelling Bard Theatrically Excavating Ancient and Contemporary Lyrics of Love, Loss, Lust and Revenge, Resuscitating Them to Nerve-Shredding Life. a Critic Once Described Her as a “Postmodern Cabaret Singer”, a Term She Emphatically Approves Of. “Jazz Is Such a Maligned Genre, Anyway. over the Course of My Teenage Year's Popular Tv Shows Would Make Fun of Jazz, No One Likes It at Large – So, ” She Muses, “I Kind of Love It. ”

Robert Thorne

Automotive & Future Transportation Editor

Robert Thorne covers electric vehicle innovations, autonomous driving systems, global mobility trends, and automotive engineering developments.

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