Cécile McLorin Salvant, Mélusine, Nonesuch ***1/2

A big departure here stylistically from one of the leading jazz singers of today Cécile McLorin Salvant is long since an icon. The singer has nothing to prove. There's everything to gain and nothing artistically to lose in anything she does given …

Published: 24 Mar 2023. Updated: 13 months.

A big departure here stylistically from one of the leading jazz singers of today Cécile McLorin Salvant is long since an icon. The singer has nothing to prove. There's everything to gain and nothing artistically to lose in anything she does given the essentially valid savoir faire and élan of what she does. While at times a frustrating listen Mélusine (the eponymous figure in legend cursed to be a half-snake) has originals and material sung not only in French but also the ancient southern French Occitan tongue as well as English and Haitian Kreyol ('Dame Iseut'). Sullivan Fortner on synths makes a memorable contribution on 'D'un feu secret' and overall highlights include the jolly 'il m'a vue nue' ('he saw me naked'). The whole thing is beautifully sung - few singers have such formidable diction, emotional resource and strength as the American-French-Haitian 33-year-old. Curatorially hard to grasp on to at times material spans Louis Aragon/Léo Ferré, Charles Trenet, Pierre Chagnon, Jean Delabre, François Pruvost, 12th century female troubadour music, anonymous 14th century material, a 1970s musical - and more! For us Womanchild (2013) and For One To Love (2015) remain McLorin Salvant's best albums.

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Sissoko, Ségal, Parisien, Peirani, Les Égarés, Nø Førmat! ***

Inhabiting a comfort zone of seraphic euphony what's here is texturally a blend of what used to be called ''world music'' more often nowadays tagged as ''global'' and to a very small degree chamber jazz - there isn't obviously that much jazz …

Published: 24 Mar 2023. Updated: 13 months.

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Inhabiting a comfort zone of seraphic euphony what's here is texturally a blend of what used to be called ''world music'' more often nowadays tagged as ''global'' and to a very small degree chamber jazz - there isn't obviously that much jazz language here. It isn't remotely edgy either.

More attuned to a sensibility of a magazine such as Songlines than any other niche media that springs to mind, the crossover nevertheless may despite all the differences appeal to many into jazz because it is always interesting to hear fusions of styles that veer far away from bebop and ballads and which mesh them with music from any number of continents. Certainly the majority of the players here are known as high profile eclectic jazz and beyond players.

Kora - like an African harp and lute - and accordion often dominate - Ballaké Sissoko plays the former, Vincent Peirani the latter. The band completed by cellist Vincent Ségal and saxophonist Émile Parisien who provide the top line narratives often swooping to peal out unlikely rhapsodies and more often panoramic asides that sound both ancient and yet despite the paradox of the thought surprisingly modern. ''Égarés'' - meaning ''those who have gone astray'' embraces Manding culture, touches on Armenian music and includes a cover of both accordionist Marc Perrone's ‘Esperanza’ and Bumcello's 'Time Bum'. Of most interest to jazz listeners is a cover of Joe Zawinul's 'Orient Express.'

Out on 31 March. Several tracks from Les Égarés are streaming ahead of release

L-r, Peirani, Sissoko, Parisien, Ségal photo: Claude Gassian

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