PDX JAZZ MEMBERS PRESALE FRIDAY, JUNE 9 – TUESDAY, JUNE 13. GENERAL PUBLIC SALE BEGINS WEDNESDAY JUNE 14.
Cécile McLorin Salvant was born and raised in Miami, Florida of a French mother and a Haitian father. She started classical piano studies at age 5, and began singing in the Miami Choral Society at 8. Early on, she developed an interest in classical voice, began studying with private instructors, and later with Edward Walker, vocal teacher at the University of Miami.
In 2007, Cécile moved to Aix-en-Provence, France, to study law as well as classical and baroque voice at the Darius Milhaud Conservatory. It was in Aix-en-Provence, with reedist and teacher Jean-François Bonnel, that she started learning about jazz, and sang with her first band. In 2009, after a series of concerts in Paris, she recorded her first album “Cécile”, with Jean-François Bonnel’s Paris Quintet. A year later, she won the Thelonious Monk competition in Washington D.C.
Over the years, she has developed a curiosity for the history of American music, and the connections between jazz, vaudeville, blues, and folk music. Cécile carefully chooses her repertoire, oftentimes unearthing rarely recorded, forgotten songs, with strong stories.
She enjoys popularity in Europe and in the United States, performing in clubs, concert halls, and festivals. In 2014, her second album, WomanChild (Mack Avenue Records) was nominated for a Grammy. That same year, Salvant won four categories in DownBeat Magazine‘s Critics Poll: Jazz Album of the Year, Female Vocalist, Rising Star–Jazz Artist and Rising Star–Female Vocalist.
Her third album, For One To Love (for Mack Avenue Records), was recorded in 2015 and subsequently won the 2016 Grammy® Award for Best Jazz Vocal Album. Furthermore, Salvant is a two time winner of NPR Music’s Jazz Critics Poll for Female Vocal Album of the Year and winner of the Jazz Journalists Association’s 2015 Female Vocalist of the Year.
“…she sings clearly, with her full pitch range, from a pronounced low end to full and distinct high notes, used sparingly […] 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.” – The New York Times