Anyone who heard Salvant’s “John Henry” on WomanChild won’t be surprised to find her putting a unique spin on early jazz standards like “Growlin’ Dan” or “What’s the Matter Now?” More impressive is the sensuality she lends to some light fare drawn from old movies (“Stepsister’s Lament,” “The Trolley Song”). Better still: Salvant’s originals, including “Fog” and “Left Over,” which change rhythmic thrust just when you think you have them pegged. Once again supported by ace pianist Aaron Diehl, this album cements Salvant’s status as a leading voice in contemporary jazz singing.