It’s always exciting to find new talent. It’s especially rewarding to discover a young singer who is keeping jazz and the Great American Songbook alive. June Cavlan, in her early twenties, played Birdland in November. Her name was unknown to me until quite recently. Her Birdland show, and her new album, “A Portrait of June,” reveal a jazz singer off to a great start. Most songs from the set appear on the album.

At Birdland Theater, Cavlan was backed by the trio of pianist Luther Allison, bassist Jonathon Muir-Cotton, and drummer Bryan Carter. The sold-out crowd was mostly young, and quite enthusiastic. It warms the heart to see such a young audience come out for great jazz.

Cavlan opened with the obscure “Waiter With the Water” (Kay Werner, Sue Werner), an early song associated with Ella Fitzgerald. This very clever, tongue-twisting wordplay song revealed a sweet voice with excellent control. Cavlan can scat effectively, too. The trio was on fire with this swinger, and Muir-Cotton’s lively bass solo was particularly impressive.

Cavlan’s rendition of “Soon” (George Gershwin/Ira Gershwin) was fabulous, with smooth, legato lines. Her pure voice has shades of a young Doris Day, with the ability to bend notes and phrases like Ella Fitzgerald or Sarah Vaughan, though at times, her overall style seems to draw more from Anita O’Day. Indeed, she admitted later that those were among her influences.

Cavlan’s singing on “Never Will I Marry” (Frank Loesser) was fascinating to observe, something of a Moebius strip in the way she winds and bends her way through a lyric. She takes many chances that are especially impressive for such a young singer. While not all of these paid off, most of them were on the money.

Cavlan’s timing and phrasing on “As long As I Live” (Harold Arlen/Ted Koehler), initially sung with just bass, were exquisite. Alison displayed a deft touch on piano, with some brilliant voicings. Carter, a solid drummer throughout the set, finally had a chance to let loose on this number.

On Billy Strayhorn’s “Isfahan,” Cavlan astonished with a wordless vocalese and scat arrangement that used her voice entirely as an instrument, performed at first rubato with the piano. This was a brave and exposed choice for Cavlan, and hints at the greatness to come from this singer.

Cavlan later revealed an entirely different side of her career when she brought out guest singers Joie Bianco and Kate Kortum. Together, they are Sunhouse, a dynamic vocal harmony trio. Their rendition of “A Portrait of Jennie” was superb, with rich harmonies and perfectly blended voices. An entire evening of Sunhouse would be most welcome.

About the only song that did not work was Sondheim’s “The Ladies Who Lunch.” Though Cavlan’s singing was fine, it is material for the mature woman, a cynical drinker; the pristine Cavlan is simply not a believable blowsy broad. One must have first experienced April before singing about the September of her years.

For more information about June Cavlan, visit https://www.junecavlan.com.