From the moment Grammy Award-winning jazz singer Cecile McLorin Salvant opened her mouth and the trio of musicians began to play Saturday night, it was as if the entire crowd at the Sheldon was in a time machine. They were transported to a time before the singing superstars of the day had the option of selling themselves and their brand with overt sexuality and over the top concert productions to compensate for lack of vocal talent and skill.
Her age, 28, classifies Salvant as a millennial. But she’s also a throwback to the jazz crooners that made the voice a powerful instrument in its own right – and had the talent to stand on their own while being accompanied by the giants of jazz.
The late grand divas were alive in the magnificent acoustics of the Sheldon with Salvant as a vessel. Her latest visit showcased her rare gift in all its glory. She sold songs with the ability of Billie Holiday and Abbey Lincoln. She hit highs and lows with the richness and precision of Sarah Vaughan, the charm of Ella Fitzgerald and the passion of Nina Simone.
Audiences caught the future of jazz in the act of becoming a legend. And it was a sight to behold. Salvant brilliantly borrowed from a host of other genres over the course of her 75-minute set. Through songs made popular by Barbara Streisand, Bessie Smith and even Stevie Wonder, Salvant spoke to the blues origins of jazz and the music’s unyielding, albeit often uncredited influence.
Salvant delivered an integrated blend of her albums – including her latest “Dreams and Daggers,” which was released September 29. Even if one thought it wasn’t possible, the mix of songs gave a greater appreciation for her stunning voice.
Early on Salvant performed the lone original number of the night entitled “Fog” and shared a story about how the subject of her unrequited attraction and reached out to her about it.
“He found out that it was about him. It was quite embarrassing. He sent a text message and was like, ‘What, is this song about me?” Salvant said. “Anyhow, I don’t know why I said that. We’re going to continue with songs I didn’t write. We’ll do ‘Wives and Lovers.”
The Burt Bacharach song was included on her latest album, which was announced on Tuesday as being among the nominees for “Outstanding Jazz Album” for the 49th Annual NAACP Image Awards.
Salvant took advantage of the acoustics of the Sheldon when she put the microphone behind her back to perform an extended version of the blues/folk standard “John Henry,” a song she recorded for her debut album “Womanchild.”
Her trio of musicians on bass, drum and piano used their instruments to pat the tempo as Salvant belted the song. There seemed to be no limit to her vocal range as she closed with notes that are typically reserved for registers sung in opera. With the dramatic end of “John Henry,” the crowd was so delightfully stunned that they had to gather themselves to react. The applause came with a delay, but it was rousing.
Stevie Wonder’s haunting soul ballad “Visions In My Mind” was reimagined for jazz thanks to Salvant. It was nearly unrecognizable, but equally beautiful.
Afterwards Salvant shifted to the blues.
With “Wild Women Don’t Get the Blues” – the near century-old standard originated by Ida Cox and Bessie Smith’s “Sam Jones Blues,” with the selections and their arrangements, Salvant paid homage to the genre that birthed jazz – and every other form of American music.
She playfully spun on the lyrics and interacted with the crowd. Her ode to the blues gave way to her finale – which was somewhat of tribute to St. Louis.
“Where are we?” Salvant asked before announcing that she would close with “The Trolley Song,” from the beloved musical film “Meet Me in St. Louis.”
