Vocal jazz: Difference between revisions

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	== 1917 to 1950 ==		== 1917 to 1950 ==

	Jazz has since its earliest inceptions been very much an instrumentally and male dominated music, leaning heavily on a performer’s skill to create musical ambience than lyrics as a means to communication. Strangely, the ‘roots’ of jazz were very much vocal; ‘]’ and chants and their like, while earlier forms of jazz were primarily based around marching of brass band configurations, albeit in a less ‘mobile’ position. The reasons for this seem unclear, given that ] maintained a strong vocal tradition, with singers such as ] heavily influencing the progress of American music in general. Early jazz bands sometimes did feature vocalists, albeit in a more ‘bluesy’ tone of voice; arguably one of the first ‘Jazz’ recordings, the 1917 ] recordings featured one Sarah Martin on vocal duties- revolutionary in a pre-revolutionary era; as such, in a time before Jazz was ‘Jazz’.		Jazz has since its earliest inceptions been very much an instrumentally and male dominated music, leaning heavily on a performer’s skill to create musical ambience than lyrics as a means to communication. Strangely, the ‘roots’ of jazz were very much vocal; ‘]s’ and chants and their like, while earlier forms of jazz were primarily based around marching of brass band configurations, albeit in a less ‘mobile’ position. The reasons for this seem unclear, given that ] maintained a strong vocal tradition, with singers such as ] heavily influencing the progress of American music in general. Early jazz bands sometimes did feature vocalists, albeit in a more ‘bluesy’ tone of voice; arguably one of the first ‘Jazz’ recordings, the 1917 ] recordings featured one Sarah Martin on vocal duties- revolutionary in a pre-revolutionary era; as such, in a time before Jazz was ‘Jazz’.

	It was ] who first exposed the world to real Jazz singing; the first singer to swinger to swing, to improvise, and to ]. ]’s entrance into the world of entertainment in the early 1930’s brought about much interest, approaching the voice in a radically different approach, she explained, in her own words, “I don’t feel like I’m singing, I feel like I’m playing the horn.’ Her success however was halted in 1933 with the end of ] in the ], ending the, until that point, profitable business of running ‘speakeasies’, which served as primary outlets for jazz music to exist. To prevent the collapse of the ‘club’ scene entirely, owners needed another attraction to take alcohol’s place, thus a call for a more ‘danceable’ form of jazz was made- giving rise to the ‘] era’, and with it big bands such as the ‘]’, which whom ] later performed.		It was ] who first exposed the world to real Jazz singing; the first singer to swinger to swing, to improvise, and to ]. ]’s entrance into the world of entertainment in the early 1930’s brought about much interest, approaching the voice in a radically different approach, she explained, in her own words, “I don’t feel like I’m singing, I feel like I’m playing the horn.’ Her success however was halted in 1933 with the end of ] in the ], ending the, until that point, profitable business of running ‘speakeasies’, which served as primary outlets for jazz music to exist. To prevent the collapse of the ‘club’ scene entirely, owners needed another attraction to take alcohol’s place, thus a call for a more ‘danceable’ form of jazz was made- giving rise to the ‘] era’, and with it big bands such as the ‘]’, which whom ] later performed.
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	] is renowned for her re-workings of popular music into jazz-style, as with her ] release, “Schuur Fire”, where, for instance, ]’s “Ordinary World” is reworked into ]. Blinded shortly after birth by a hospital complication, Schuur’s 3½ ] range has earned her a place playing with the ], filling the shoes ] left behind, for which she won a ]. Given her blindness, Schuur is forced to put all of her energy into her singing in order to communicate with her audience- which she, with her bluesy vibrato, manages to do better than most sighted singers.		] is renowned for her re-workings of popular music into jazz-style, as with her ] release, “Schuur Fire”, where, for instance, ]’s “Ordinary World” is reworked into ]. Blinded shortly after birth by a hospital complication, Schuur’s 3½ ] range has earned her a place playing with the ], filling the shoes ] left behind, for which she won a ]. Given her blindness, Schuur is forced to put all of her energy into her singing in order to communicate with her audience- which she, with her bluesy vibrato, manages to do better than most sighted singers.

	], a vocal harmony group comprising of a ], a ] and four ]s , founded by Claude McKnight released their first, self-titled, album straight at the top, on ] Music, combining ], ], ] and ] arrangements, and setting the standard for contemporary male harmony groups. The group focuses on more ‘percussive’ elements in their music, going as far as to create ‘vocally produced instrumental jazz’ on a whim.		], a vocal harmony group comprising of a ], a ] and four ]s , founded by Claude McKnight released their first, self-titled, album straight at the top, on ] Music, combining ], ], ] and ] arrangements, and setting the standard for contemporary male harmony groups. The group focuses on more ‘percussive’ elements in their music, going as far as to create ‘vocally produced instrumental jazz’ on a whim.

	] formed through an ] college alumni group and released their first, self-titled album on ] in ], and won a Grammy award for their ] collaboration with the ], “Count Basie Orchestra with New York Voices Live at Manchester Craftsmen's Guild”. Initially a sestet, the ] have, through numerous member-changes become a quartet, who, aside from performing, give jazz clinics at schools and universities. The New York Voices have to date released six albums, all blends of ], ], ], ] and ].		] formed through an ] college alumni group and released their first, self-titled album on ] in ], and won a Grammy award for their ] collaboration with the ], “Count Basie Orchestra with New York Voices Live at Manchester Craftsmen's Guild”. Initially a sestet, the ] have, through numerous member-changes become a quartet, who, aside from performing, give jazz clinics at schools and universities. The New York Voices have to date released six albums, all blends of ], ], ], ] and ].
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Revision as of 09:52, 7 May 2006

Jazz Singing can be defined by the instrumental approach to the voice, where the singer can match the instruments in their stylistic approach to the lyrics, improvised or otherwise, or through scat singing; that is, the use of nonsensical meaningless non-morphemic syllables to imitate the sound of instruments.

1917 to 1950

Jazz has since its earliest inceptions been very much an instrumentally and male dominated music, leaning heavily on a performer’s skill to create musical ambience than lyrics as a means to communication. Strangely, the ‘roots’ of jazz were very much vocal; ‘field hollers’ and chants and their like, while earlier forms of jazz were primarily based around marching of brass band configurations, albeit in a less ‘mobile’ position. The reasons for this seem unclear, given that the blues maintained a strong vocal tradition, with singers such as Ma Rainey heavily influencing the progress of American music in general. Early jazz bands sometimes did feature vocalists, albeit in a more ‘bluesy’ tone of voice; arguably one of the first ‘Jazz’ recordings, the 1917 Original Dixieland ‘Jass’ Band recordings featured one Sarah Martin on vocal duties- revolutionary in a pre-revolutionary era; as such, in a time before Jazz was ‘Jazz’.

It was Louis Armstrong who first exposed the world to real Jazz singing; the first singer to swinger to swing, to improvise, and to scat. Billie Holiday’s entrance into the world of entertainment in the early 1930’s brought about much interest, approaching the voice in a radically different approach, she explained, in her own words, “I don’t feel like I’m singing, I feel like I’m playing the horn.’ Her success however was halted in 1933 with the end of prohibition in the United States, ending the, until that point, profitable business of running ‘speakeasies’, which served as primary outlets for jazz music to exist. To prevent the collapse of the ‘club’ scene entirely, owners needed another attraction to take alcohol’s place, thus a call for a more ‘danceable’ form of jazz was made- giving rise to the ‘swing era’, and with it big bands such as the ‘Count Basie Big Band’, which whom Billie Holiday later performed.

Holiday’s influence played a big role in Ella Fitzgerald’s career; she began making waves during the course of 1939, and is renowned to have exposed scat singing to real ‘mainstream’ audiences for the first time, explaining "I stole everything I ever heard, but mostly I stole from the horns." Through Fitzgerald’s rise to fame, Vocal Jazz was elevated to higher rankings, allowing the notion of ‘free voice’ to exist, giving instrumental qualities to the voice through timbres, registers and tessitura, primarily through her 1940’s ‘Jazz At The Philharmonic’ concert series, where she left audiences awestruck by her imitations of instruments. Between 1917 and 1950, names like Louis Armstrong, Bessie Smith, Nat King Cole, Billie Holiday, Ethel Waters, Bing Crosby and Milred Bailey dominated the vocal jazz scene .

1951 to 1968

The period between 1951 and 1968 was the territory of mass-market music, record companies looking to make a profit by targeting music at teenagers, these displaying different tastes than their previous adult audience. As such, a decline in Jazz’s popularity became noticeable, being replaced by early ‘pop’ records. Around the same time, the ‘Long Playing’ Record was invented, ‘freeing’ musicians from the time constraints of the ‘Extended Player’ record. The LP, being more expensive, was aimed at the adult audience who could afford to spend the extra money on records. 1963 spelled disaster for Jazz it seems, with the Beatles releasing their first record, leading indirectly to jazz losing much of its popularity. Singers popular at this time were Sarah Vaughan, Lambert, Hendricks & Ross, Chris Eckstine, Joe Williams and Ella Fitzgerald.

1970 to future

Vocal Jazz, from 1970 onward, was, and is, led by several big names, including Maxine Sullivan, Sarah Vaughan, Al Jarreau, Carmen Mc Rae, Flora Purim, George Benson, Carol Sloane and Bobby McFerrin, among many others. Some of the biggest influences on the Vocal Jazz style during the past 38 years, all of whom approach the jazz voice in different ways, are Flora Purim, George Benson, Take Six, Real Group, New York Voices, Dianne Reeves, Al Jarreau, Bobby McFerrin and Diane Shuur. What follows are chronological descriptions of each group / artist’s contribution to the development of Vocal Jazz, and a short record of their achievements.

Contemporary Jazz Vocalists

Brazilian-born Flora Purim released her first solo album in 1973, entitled Butterfly Dreams, on LP through Milestone Records , and is most renowned for her remarkable six-octave voice range. Her first exposure to mainstream audiences was through two recording collaborations with Gil Evans, an important part of the Big Band Swing scene, entitled “Light as a feather” and “Return to Forever”, in 1972 and 1973, respectively, which stand to date as significant developments in the field of fusion jazz. Purim’s approach to Vocal Jazz included Latin Jazz, using a ‘percussive’ element in her work.

Al Jarreau made his first impressions on the world through the 1975 release of his “We Got By” album on Reprise Records , which promptly won him a German Grammy award, as did his following 1979 release “Glow”. Jarreau’s music features elements of Pop, Jazz and R&B, and he is also the only person to hold Grammy awards for all three styles of music. Jarreau is renowned for being able to perfectly imitate the sound of Guitars, Electric Basses, Upright Basses and Percussion instruments, and tends to improvise performances using that talent rather than ‘sing songs’, as other singers do. Jarreau’s experience with performance and singing has its roots in his early childhood, where he and his brothers performed together in a close harmony group, later singing in the church choir.

Jazz Guitarist George Benson shocked his audience in 1976 by releasing an album, “This Masquerade”, on Warner Brothers Music, on which he sang- to winning effect. Having released his first album 12 years prior, a collaboration with Jack McDuff, entitled “The New Boss Guitar”, describable as “Soul-Tinged Bebop” , released through Riverside Records. Benson’s guitar overshadowed his skill as a vocalist, and he appeared for many years as a sideman for some great names in Jazz, including Miles Davis, Frank Sinatra and Tony Bennett, before going into the Studio with Tony LiPuma as producer- making an album that proceeded to win him a Grammy award for making the “Record Of The Year”, probably attributable to the close relationship between his singing style and his guitar playing- melodic and chromatically fluent, with a touch of blues influence, the emphasis on sensuous, soft vocal lines. Describing his music, Benson says “I really like when people kick up their heels and go crazy.”

Dianne Reeves is well known for her fluent improvisational style that mixes Jazz with R&B Elements, for which she has won four Grammy awards since her first release in 1977, “Welcome To My Love”, on Alto Records. Born into a musical family, her Father being a Trumpet player and her mother a Singer, Reeves has to date released 18 solo albums, and appeared on 24 other albums as a guest, and is best known as a live performer rather than a studio singer, having appeared with the Chicago Symphony Orchestra, and the Berlin Philharmonic, singing in her own smooth improvisational scat style.

Bobby McFerrin has released 19 Albums, and has received 10 Grammy awards, since his first self-titled release in 1982, and has the first a capella song on Billboard Magazine’s ‘Hot 100’ chart, “Don’t worry, be happy” (1988) to his credit. He has since 1994 held the position of creative chair at the St. Paul Chamber Orchestra, the USA’s largest chamber orchestra- McFerrin moves easily between the worlds of Classical Music and Jazz, working as a conductor and releasing recordings of classical music, although it is his incredible four-octave vocal range that earns him sold out unaccompanied and fully improvised world tours; McFerrin has the remarkable ability to turn concerts into large-scale ‘workshops’, where the audience plays an integral role.

Dianne Schuur is renowned for her re-workings of popular music into jazz-style, as with her 2005 release, “Schuur Fire”, where, for instance, Duran Duran’s “Ordinary World” is reworked into Latin Jazz. Blinded shortly after birth by a hospital complication, Schuur’s 3½ octave range has earned her a place playing with the Count Basie Orchestra, filling the shoes Billie Holiday left behind, for which she won a Grammy Award. Given her blindness, Schuur is forced to put all of her energy into her singing in order to communicate with her audience- which she, with her bluesy vibrato, manages to do better than most sighted singers.

Take 6, a vocal harmony group comprising of a Bass, a Baritone and four Tenors , founded by Claude McKnight released their first, self-titled, album straight at the top, on Warner Brothers Music, combining Gospel, R&B, Soul and Jazz arrangements, and setting the standard for contemporary male harmony groups. The group focuses on more ‘percussive’ elements in their music, going as far as to create ‘vocally produced instrumental jazz’ on a whim.

New York Voices formed through an Ithaca college alumni group and released their first, self-titled album on GRP Records in 1989, and won a Grammy award for their 1996 collaboration with the Count Basie Orchestra, “Count Basie Orchestra with New York Voices Live at Manchester Craftsmen's Guild”. Initially a sestet, the New York Voices have, through numerous member-changes become a quartet, who, aside from performing, give jazz clinics at schools and universities. The New York Voices have to date released six albums, all blends of classical, pop, R&B, Brazilian and American Jazz.

Conclusion

As noted above, the explosion of pop music in the 1960’s was detrimental to Jazz’s development, leading to a supposed ‘ebb’ in the late 1960’s / early 1970’s, which was then seemingly followed by a resurgence and the ‘golden age’ of vocal jazz with numerous new artists developing the genre and pushing the standards consistently higher, all boding well for the future of vocal jazz.