![\"Cecile](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/Cecile-McLorin-Salvant.jpg\")
<\/a>carried slyness and irony reminiscent of Carmen McRae. She is partial to little known material, and gave an actor\u00e2\u20ac\u2122s timing to pauses in \u00e2\u20ac\u0153Nobody,\u00e2\u20ac\u009d a specialty of the early 20th century black vaudevillian Bert Williams. <\/p>\nSalvant resuscitated the little known verse of \u00e2\u20ac\u0153If This Isn\u00e2\u20ac\u2122t Love,\u00e2\u20ac\u009d then initiated irresistible swing as she moved into the chorus, inspiring Diehl to one of several memorable solos during the set. Her bright red dress, red pumps and white-rimmed glasses matched the drama Salvant imparted to a slow version of \u00e2\u20ac\u0153So in Love.\u00e2\u20ac\u009d At one point she made the word \u00e2\u20ac\u0153so\u00e2\u20ac\u009d seem to last forever and at another dressed the lyric with a kittenish rasp. She employed those risky techniques and a judicious bit of melismatic vowel manipulation in \u00e2\u20ac\u0153He\u00e2\u20ac\u2122s Gone Again\u00e2\u20ac\u009d not as gimmicks but in the service of the music. Diehl, bassist Paul Sikivie and drummer Peter Van Nostrand have developed empathy with Salvant that make the four not merely a singer with a rhythm section, but a band. Following a stunning version of Bernstein\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Something\u00e2\u20ac\u2122s Coming,\u00e2\u20ac\u009d Salvant answered the crowd\u00e2\u20ac\u2122s demand for an encore by reaching into her bag of old songs for \u00e2\u20ac\u0153I Wish I Could Shimmy Like My Sister Kate\u00e2\u20ac\u009d (1922) and bringing it up to date. <\/p>\n
Buster Williams led trombonist Julian Priester, saxophonist Benny Maupin, pianist George Colligan and drummer Cindy Blackman-Santana in a set called \u00e2\u20ac\u0153Something More,\u00e2\u20ac\u009d after the title of a 1989 Williams album. The sound and thrust of the band, however, was more reminiscent of pianist Herbie Hancock\u00e2\u20ac\u2122s Mwandishi<\/em>, which featured Williams, Priester and Maupin. A revamped rendition of [contextly_auto_sidebar id=”0RDFWiUIgAutfC3tfURqwyzzAYFF0Yhx”] The Portland Jazz Festival booked C\u00c3\u00a9cile McLorin Salvant to open for bassist Buster Williams\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Something More\u00e2\u20ac\u009d quintet, but she and her trio headed by pianist Aaron Diehl came close to stealing the show. The 24-year-old singer captivated an audience most of whose members were hearing her for the first time. As noted last […]<\/p>\n","protected":false},"author":2,"featured_media":5515,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5514","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5514","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5514"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5514\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/5515"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5514"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5514"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5514"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Cindy](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/Cindy-Blackman-Santana.jpg\")
<\/a> Thelonious Monk\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Epistrophy\u00e2\u20ac\u009d was a highlight of the set. Blackman-Santana was spectacular not only to hear, but also to see in her bright gold blouse (photo of Blackman-Santana by Mark Sherman). She connected with Williams in mutually supportive and interactive rhythm throughout the set, as did Williams and Colligan, particularly in \u00e2\u20ac\u0153All Of You.\u00e2\u20ac\u009d Priester sounded a bit tentative, but in a moving solo on the ballad \u00e2\u20ac\u0153I Didn\u00e2\u20ac\u2122t Know What Time It Was,\u00e2\u20ac\u009d found himself. <\/p>\n","protected":false},"excerpt":{"rendered":"