Segerstrom Center Will Present An Evening of Jazz with Cécile McLorin Salvant and the Aaron Diehl Trio

Segerstrom Center for the Arts doubleheader evening of two performances by multi-Grammy Award-winning jazz vocalist Cécile McLorin Salvant and the esteemed Aaron Diehl Trio on March 28, 2020. Performances will be at 7:00 and 9:00 p.m. in Samueli Theater. Since winning the prestigious Thelonious Monk International Jazz Competition in 2010, Salvant has evolved into one of today's most prescient forces in jazz She opens the evening with a fearless approach to art that transcends the conventional. Said Rolling Stone, "Salvant is regularly and rightly considered one of the greatest jazz singers of her generation, but that label sells her short." She is joined by her musical director and jazz piano virtuoso Aaron Diehl at the helm of his trio who then take Center stage as one of the preeminent interpreters of the Great American songbook.

Single tickets start at $39 and are available online at www.SCFTA.org, at the Box Office at 600 Town Center Drive in Costa Mesa or by calling (714) 556-2787. For inquiries about group ticket savings of 10 or more, please call the Group Services office at (714) 755-0236.

Segerstrom Center for the Arts applauds its corporate partner United Airlines, Official Airline. KJAZZ is the official Media Partner of the Jazz Series.

BIOGRAPHICAL INFORMATION

Cécile McLorin Salvant
The world first learned of the incredible vocal artistry of Cécile McLorin Salvant when she won the prestigious 2010 Thelonious Monk International Jazz Competition. In just under the span of a decade, she has evolved into a multi-Grammy® Award winner (with all three Mack Avenue Records releases receiving nominations, and the last two winning the Best Jazz Vocal Album category) and a prescient and fearless voice in music today.

Her newest release, The Window, an album of duets with pianist Sullivan Fortner, explores and extends the tradition of the piano-vocal duo and its expressive possibilities. With just Fortner's deft accompaniment to support McLorin Salvant, the two are free to improvise and rhapsodize, to play freely with time, harmony, melody, and phrasing.

Each new recording by McLorin Salvant reveals new aspects of her artistry. WomanChild and For One To Love established her style, her command, and interpretive range. Dreams and Daggers is a work that highlights her fresh and fearless approach to art that transcends the conventional-live and in the studio, with a trio and with a string quartet, standards and original compositions-held together by a vocal delivery that cuts against the grain, ever deepening, intensifying, and nuancing the lyrics.

Thematically, The Window is a meditative cycle of songs about the mercurial nature of love. The duo explores the theme across a wide repertory that includes Richard Rodgers and Stephen Sondheim, the inner-visionary Stevie Wonder, gems of French cabaret, and early Rhythm and Blues, alongside McLorin Salvant's brilliant, original compositions. Just as a window frames a view-revealing as much as it hides, connecting as much as it separates-each song on the album offers a shifting and discerning perspective on love's emotional complexity. McLorin Salvant sings of anticipation and joy, obsession and madness, torment and longing, tactics and coyness. The Window traverses love's wide universe, from the pleasure of a lover's touch with its feelings of human communion, to the invisible masks we wear to hide from others and from ourselves.

McLorin Salvant's gifts as an artist are rooted in her intensive study of the history of American Music and her uncanny ability to curate its treasures for her audience. Her albums are explorations of the immense repository of experience and feeling that abound in popular song. She understands the special role of the musician to find and share the emotions and messages in music that speak to our past, present and future. "I am not interested in the idea of relevance," she explains. "I am interested in the idea of presence. I want to communicate across time, through time, play with time."

Onstage, her persona is often compared to that of an actress. But, as McLorin Salvant notes, "jazz would not be what it is without its theatrical origins, vaudeville, and minstrel shows." Through her selection of repertory and brilliant interpretations, she "plays with time," making the musical past speak to our contemporary world. Historically, her unflinching performance of songs from the minstrel tradition challenge us to think harder about race in America today. Her ironic, even sinister, rendition of songs explore the complex intertwining of sex, gender, and power. Her blues numbers are bawdy and vibrant, melancholic and forlorn, insistent and emancipatory.

She sings of the ecstasy and agony of love, of jubilation and dejection, of desire and being desired, of fearlessness and fragility. "I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something, beautiful and touching I try to get close to it and share that with the audience." Immersed in the song and yet completely in control, McLorin Salvant brings her immense personality to the music-daring, witty, playful, honest, and mischievous.

All of McLorin Salvant's study, training, creativity, intelligence, and artistry come together in her voice on The Window. The sound of her voice covers the gamut from breathy to bold, deep and husky to high and resonant, limpid to bluesy, with a clarity and richness that is nearly unparalleled. When she first burst onto the jazz scene, many listeners were struck by her ability to recall the sound of Bessie Smith, Sarah Vaughan, or Betty Carter. Yet with each new album, McLorin Salvant's voice has become more her own, more singular. While conjuring the spirits of the ancestors, her references are controlled, focused, and purposeful. Her remarkable vocal technique never overshadows her rich interpretations of songs both familiar and obscure.

Touched at every moment by Cécile McLorin Salvant's brilliance, The Window is a dazzling new release from an artist who is surely, to quote Duke Ellington, "beyond category."

Aaron Diehl
The New York Times jazz critics have extolled Mr. Diehl's "melodic precision, harmonic erudition, and elegant restraint," while the same paper's classical critics have noted, "Mr. Diehl play[s] magnificently."

A 32-year-old classically trained pianist and composer, Aaron Diehl has made an indelible mark on the jazz world over the last 15 years. While showing a rare affinity for early jazz and mid-20th century "third-stream" music, his latest evolution comes as he begins to tackle modern classical works, having performed Gershwin's piano sonatas and "I Got Rhythm Variations" with the NY Philharmonic, Cleveland Orchestra, LA Philharmonic, Amarillo Symphony in the last year and performing the piano works of Philip Glass in numerous locales, both in the U.S. and abroad.

Diehl has collaborated with living masters ranging from jazz greats Wynton Marsalis and Benny Golson to 20th century classical titan Philip Glass. He has established himself as one of the preeminent interpreters of the Great American Songbook in his working trio and as musical director and arranger for the remarkable vocalist Cécile McLorin Salvant.

A graduate of Juilliard, Diehl was named the 2011 Cole Porter Fellow by American Pianists Association, in 2014 became the youngest ever Monterey Jazz Festival Commission Artist and has released two critically acclaimed albums on the Mack Avenue Records label. He was the Music Director for Jazz at Lincoln Center's 2014-2015 New Orleans Songbook series and in 2017 participated in Jazz in July's "The Art of Tatum," honoring one of his primary piano idols, Art Tatum.

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