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Join us for an evening of critical listening with Grammy-nominated jazz vocalist
CÉCILE MCLORIN SALVANT
in conversation with BSAW co-directors Professor Daphne A. Brooks (African American Studies, Theater Studies, American Studies, Women's, Gender, & Sexuality Studies) and Professor Brian Kane (Department of Music)
Wednesday, February 21
WLH 201--Sudler Hall
100 Wall Street
New Haven, CT
7PM
Free and open to the public!
Presented by Yale's Black Sound & the Archive Working Group (BSAW)
Ben Ratliff writes in The New York Times “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.”
Jazz journalist Fred Kaplan, who profiled Salvant in The New Yorker, believes that she has a masterly grasp on exhibiting a wide emotional range in her music. "Her blues are blue. Her swings swing," Kaplan says. "She has vast, almost operatic range."He also says that Salvant digs into a lyric like an actress. "She finds things in a lyric that other jazz singers kind of glide by," he says. "'Mad About the Boy' — if you just looked at the lyrics, you'd think this is really a song written by a crazy person. Or a song narrated by a crazy person. And she gets into that. It is a mad song."
For more information visit blacksound.yale.edu
320 York Humanities
CÉCILE MCLORIN SALVANT
in conversation with BSAW co-directors Professor Daphne A. Brooks (African American Studies, Theater Studies, American Studies, Women's, Gender, & Sexuality Studies) and Professor Brian Kane (Department of Music)
Wednesday, February 21
WLH 201--Sudler Hall
100 Wall Street
New Haven, CT
7PM
Free and open to the public!
Presented by Yale's Black Sound & the Archive Working Group (BSAW)
Ben Ratliff writes in The New York Times “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.”
Jazz journalist Fred Kaplan, who profiled Salvant in The New Yorker, believes that she has a masterly grasp on exhibiting a wide emotional range in her music. "Her blues are blue. Her swings swing," Kaplan says. "She has vast, almost operatic range."He also says that Salvant digs into a lyric like an actress. "She finds things in a lyric that other jazz singers kind of glide by," he says. "'Mad About the Boy' — if you just looked at the lyrics, you'd think this is really a song written by a crazy person. Or a song narrated by a crazy person. And she gets into that. It is a mad song."
For more information visit blacksound.yale.edu
320 York Humanities
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