Classical 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 Salvant

Categorized in : Want Singing Lasers

The more I listened and became obsessed with singers, I feel like the more I realized that I had my own little thing that I could do.

Cecile McLorin Salvant

little-things singers littles

I do love being onstage. And I've always loved playing a character and being watched doing that.

Cecile McLorin Salvant

love-is character

I never wanted to sound clean and pretty. I always wanted to have kind of a certain natural quality to my voice, and I wish it were more rough than it is.

Cecile McLorin Salvant

quality voice wish

I wasn't listening to that much classical music - not much more than anything else. I was really lucky to have parents who loved all kinds of music.

Cecile McLorin Salvant

lucky parent listening

I doubt myself a lot. And I'm very, very just overly critical.

Cecile McLorin Salvant

critical doubt

I remember as a child I just would copy everyone else's handwriting, and now I have sort of a version of my sister's handwriting. And I feel like - sometimes I feel that way for my voice.

Cecile McLorin Salvant

handwriting voice children

I 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 Salvant

video focus looks

I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.

Cecile McLorin Salvant

voice strong teacher

I remember in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

Cecile McLorin Salvant

used remember school

I 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 Salvant

voice sound trying

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 Salvant

listening people thinking

I think when black performers performed in blackface, they were kind of taking back slave songs, but it was still a little bit iffy because they were performing, a lot of times, for white audiences who found it hilarious.

Cecile McLorin Salvant

white song thinking

Just 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

reading fun people

I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.

Cecile McLorin Salvant

singing voice thinking

I just don't like to be in my own - I'm already myself, so I don't like to be in my own - like, watch myself.

Cecile McLorin Salvant

my-own watches

It takes me a lot of time, and it's almost frustrating for the guys sometimes because they're waiting for a new song. And I - it's just so important for me to get the perfect, exact, right song.

Cecile McLorin Salvant

guy perfect song

I never wanted to sound clean and pretty. In jazz, I felt I could sing these deep, husky lows if I want and then these really tiny laser highs if I want as well.

Cecile McLorin Salvant

deep never sound want

Eventually, the more I listened and became obsessed with singers, I feel like the more I realized that I had my own little thing that I could do. So this is why 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.

Cecile McLorin Salvant

looking feel my-own people

I had a hole in my voice. I still do. We call it a hole, but it's an area in the voice where it's air. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in the middle area, it was really hard.

Cecile McLorin Salvant

teachers deep me voice

I was brought up in a house with a lot of appreciation for music, all kinds of music, including jazz. But I never knew that it could really be a career. I didn't know any jazz singers. I never saw live jazz. I only heard these records.

Cecile McLorin Salvant

live never music appreciation