Dreams and Daggers

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Dreams and Daggers 1:52:15 $20.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 And Yet 01:06 96/24 Album only
2 Devil May Care 06:56 96/24 Album only
3 Mad About The Boy 06:52 96/24 Album only
4 Sam Jones' Blues 03:00 96/24 Album only
5 More 03:33 96/24 Album only
6 Never Will I Marry 04:03 96/24 Album only
7 Somehow I Never Could Believe 09:55 96/24 Album only
8 If A Girl Isn't Pretty 02:55 96/24 Album only
9 Red Instead 00:34 96/24 Album only
10 Runnin' Wild 01:39 96/24 Album only
11 The Best Thing For You (Would Be Me) 07:12 96/24 Album only
12 You're My Thrill 04:33 96/24 Album only
13 I Didn't Know What Time It Was 06:29 96/24 Album only
14 Tell Me What They're Saying Can't Be True 05:29 96/24 Album only
15 Nothing Like You 03:49 96/24 Album only
16 You've Got To Give Me Some 06:11 96/24 Album only
17 The Worm 01:03 96/24 Album only
18 My Man's Gone Now 06:27 96/24 Album only
19 Let's Face The Music And Dance 06:54 96/24 Album only
20 Si J'etais Blanche 05:14 96/24 Album only
21 Fascination 01:27 96/24 Album only
22 Wild Women Don't Have The Blues 06:51 96/24 Album only
23 You're Getting To Be A Habit With Me 09:53 96/24 Album only

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℗ 2017 Mack Avenue Records II, LLC
© 2017 Mack Avenue Records II, LLC










Cécile McLorin Salvant  arrived at the Kennedy Center in Washington, DC to compete in the finals of


the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a

mystery woman with the most unusual background of any of the participants. When she walked away with

first place in the jazz world’s most prestigious contest, the buzz began almost immediately. If anything, it has

intensified in the months leading up to the launch of her Mack Avenue Records debut,



WomanChild  .


“She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and

grace,” Wynton Marsalis asserts. “I’ve never heard a singer of her generation who has such a command of

styles,” remarks pianist Aaron Diehl. “She radiates authority,” critic Ben Ratliff wrote in



The New York Times


in response to one of her post-competition performances, and a few weeks later his colleague Stephen

Holden announced that “Ms.



McLorin Salvant  has it all…. If anyone can extend the lineage of the Big


Three—Billie Holiday, Sarah Vaughan and Ella Fitzgerald—it is this 23-year-old virtuoso.”

Yet at almost every step of the way,



McLorin Salvant  has followed a different path from her peers. Born in


Miami to a French mother and Haitian father,



McLorin Salvant ’s first language was French. She immersed


herself in the classical music tradition, long before she turned to jazz—starting on piano at age five and

joining the Miami Choral Society at age eight. When it came time for college,



McLorin Salvant  bypassed all


the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued

to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.

There, thousands of miles away from jazz’s land of origin,



McLorin Salvant  entered into a fruitful partnership


with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before

returning to the US, she gave concerts in Paris, recorded with Bonnel’s quintet, and immersed herself in the

early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the

Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of

jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and

McLorin Salvant




’s contemporaries.


In the aftermath of



McLorin Salvant ’s triumph at the Monk Competition, the jazz world eagerly awaited the


winner’s first US recording. Answering that call with



WomanChild  , McLorin Salvant  draws on songs


spanning three centuries of American music. “I like to choose songs that are a little unknown or have been

recorded very few times,”



McLorin Salvant  notes. “While these songs aren’t recognized as standards, many


should be because they are so beautifully crafted.”

On the album, her repertoire ranges from the 19



th century ballad “John Henry,” refreshed in a spirited up-todate


arrangement, to



McLorin Salvant ’s own 21st century waltz “Le Front Caché Sur Tes Genoux” which


draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who

share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl

and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist...