David Hajdu at The Nation:
What I experienced at the Village Vanguard in October was something more than the fulfillment of that promise: I saw Salvant transcend the conventions of multiple traditions in jazz singing, including Holiday’s, without abandoning the tenets of emotional maturity, deep musicality, and rhythmic drive that distinguish jazz. Onstage at the Vanguard, as well as on her latest album, Dreams and Daggers, Salvant made a kind of jazz that honors the history of the music while speaking with ringing, stinging cogency to a 21st-century audience.
In place of reverence, quiet, and stillness, there was an atmosphere of shared excitement. If the regulars remembered the rules about keeping quiet, it didn’t show. And there seemed to be many more newcomers than regulars in the place—unbridled fans cheering in full voice during a song, picking up on Salvant’s cheeky humor and laughing along, even calling out requests, an act of apostasy at the Vanguard. About halfway into the set, someone yelled for “I Didn’t Know What Time It Was,” the Rodgers and Hart ballad that Salvant reconsiders on Dreams and Daggers—a double-CD set of standards, vintage obscurities, and new songs written (or co-written) by her, including some tracks recorded at a show at the Vanguard in late 2016 that I didn’t attend.