I just became obsessed with looking for new singers, unknown singers, people that maybe have been forgotten, and really checking them out and analyzing what they do - and obsessive listening. I think that's the core of my work on music - has been just listening to things and listening to singers.
Cecile McLorin SalvantI don't like being the focus of attention. It makes me very uncomfortable. And it's part of the reason I never look at videos of myself, or I very rarely listen to my music or even read things that I might've said.
Cecile McLorin SalvantI do love being onstage. And I've always loved playing a character and being watched doing that.
Cecile McLorin SalvantI did everything I could to not bring in any of the - any of the technical things I got from classical into jazz. And I did everything to really base it on my speaking voice and to just not try to make it sound pretty.
Cecile McLorin SalvantClassical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.
Cecile McLorin SalvantJust reading that - just reading that a person can be black and still perform in blackface, making fun of black people for a living, and at the same time be a genius and be an incredible entertainer and at the same time be extremely conflicted and feel like - just feel terrible for doing that, essentially, which is what Bert Williams felt, from what I gather, from what I read - all of that just made - was so incredible to me.
Cecile McLorin Salvant