Pages in category "Scat singers"
The following 35 pages are in this category, out of 35 total. This list may not reflect recent changes (learn more).
The following 35 pages are in this category, out of 35 total. This list may not reflect recent changes (learn more).
1. Scat singing – In vocal jazz, scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. Scat singing is a technique that requires singers with the ability to sing improvised melodies. Though scat singing is improvised, the lines are often variations on scale and arpeggio fragments, stock patterns and riffs. As well, scatting usually incorporates musical structure, will Friedwald has compared Ella Fitzgerald to Chuck Jones directing his Roadrunner cartoon—each uses predetermined formulas in innovative ways. The deliberate choice of scat syllables also is a key element in vocal jazz improvisation, syllable choice influences the pitch articulation, coloration, and resonance of the performance. Syllable choice also differentiated jazz singers personal styles, Betty Carter was inclined to use sounds like louie-ooie-la-la-la while Sarah Vaughan would prefer shoo-doo-shoo-bee-ooo-bee, the choice of scat syllables can also be used to reflect the sounds of different instruments. Humor is another important element of scat singing, cab Calloway exemplified the use of humorous scatting. In addition to such uses of language, humor is communicated in scat singing through the use of musical quotation. Leo Watson, who performed before the canon of American popular music and this is called using a compression. The 1958 song The Witch Doctor by Ross Bagdasarian Sr. creator of Alvin, Ella Fitzgerald, who performed later, was able to draw extensively on popular music in her singing. For example, in her 1960 recording of How High the Moon live in Berlin, she quotes over a dozen songs, including The Peanut Vendor, Heat Wave, A-Tisket, A-Tasket, and Smoke Gets in Your Eyes. Though Louis Armstrongs 1926 recording of Heebie Jeebies is often cited as the first song to employ scatting, one early master of ragtime scat singing was Gene Greene who recorded scat choruses in his song King of the Bungaloos and several others between 1911 and 1917. Entertainer Al Jolson scatted through a few bars in the middle of his 1911 recording of That Haunting Melody, Gene Greens 1917 From Here to Shanghai, which featured faux-Chinese scatting, and Gene Rodemichs 1924 Scissor Grinder Joe and Some of These Days also pre-date Armstrong. Cliff Ukulele Ike Edwards scatted an interlude on his 1923 Old Fashioned Love in lieu of using an instrumental soloist, harry Barris, one of Paul Whitemans The Rhythm Boys, along with Bing Crosby, scatted on several songs, including Mississippi Mud, which Barris wrote in 1927. One of the female singers to use scat was Aileen Stanley. Jelly Roll Morton credited Joe Sims of Vicksburg, Mississippi, as the creator of scat around the turn of the 20th century. Morton, Oh and that was way before Louis Armstrongs time. By the way, scat is something that a lot of people dont understand, but I must take the credit away, since I know better. The first man ever did a scat number in history of this country was a man from Vicksburg, Mississippi, by the name of Joe Sims
2. Louis Armstrong – Louis Armstrong, nicknamed Satchmo or Satch, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s and he was also skilled at scat singing. Armstrong was one of the first truly popular African-American entertainers to cross over and he rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were restricted for black men of his era. Armstrong often stated that he was born on July 4,1900, although he died in 1971, it was not until the mid-1980s that his true birth date, August 4,1901, was discovered by the researcher Tad Jones through the examination of baptismal records. Armstrong was born into a family in New Orleans, Louisiana. He spent his youth in poverty, in a neighborhood known as the Battlefield. His father, William Armstrong, abandoned the family when Louis was an infant and his mother, Mary Mayann Albert, then left Louis and his younger sister, Beatrice Armstrong Collins, in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and he attended the Fisk School for Boys, where he most likely had early exposure to music. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille, after dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble, Cornet player Bunk Johnson said he taught Armstrong to play by ear at Dago Tonys Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. It has given me something to live for and he also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs. They took him in and treated him like family, knowing he lived without a father and he later wrote a memoir of his relationship with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907. Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them, how to live—real life, professor Peter Davis instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader, the home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Gertrude, Armstrong got his first dance hall job at Henry Ponces, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night, later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as going to the University, in 1919, Joe Oliver decided to go north and resigned his position in Kid Orys band, Armstrong replaced him
3. Cab Calloway – Cabell Cab Calloway III was an American jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, Calloway was a master of energetic scat singing and led one of the United States most popular big bands from the start of the 1930s to the late 1940s. Calloway continued to perform until his death in 1994 at the age of 86, Calloway was born in Rochester, New York, on Christmas Day in 1907 to an upper-middle-class family. His mother, Martha Eulalia Reed, was a Morgan State College graduate, teacher and his father, Cabell Calloway, Jr. graduated from Lincoln University of Pennsylvania in 1898, and worked as a lawyer and in real estate. Cab Calloway grew up as an adolescent in a household in West Baltimores Sugar Hill, considered the political, cultural. Early on, his parents recognized their sons talent. He continued to study music and voice throughout his formal schooling, despite his parents and teachers disapproval of jazz, Calloway began frequenting and performing in many of Baltimores nightclubs. As a result, he came into contact with many of the local jazz luminaries of the time and he counted among his early mentors drummer Chick Webb and pianist Johnny Jones. After his graduation from Frederick Douglass High School, Calloway joined his sister, Blanche, in a touring production of the popular Black musical revue. His parents had hopes of their son becoming an attorney following after his father, at the Sunset Café, Cab cut his teeth as an understudy for singer Adelaide Hall. Here he met and performed with Louis Armstrong, who taught him to sing in the scat style and he eventually left school to sing with a band called the Alabamians. In 1930 Calloway took over a brilliant, but failing band called The Missourians, later on, they renamed it Cab Calloway, the Cotton Club in New Yorks Harlem was the premier jazz venue in the country. In 1931 Calloway and his orchestra were hired as a replacement for the Duke Ellington Orchestra while it was touring, Calloway quickly proved so popular that his band became the co-house band with Ellingtons, and his group began touring nationwide when not playing the Cotton Club. Their popularity was enhanced by the twice-weekly live national radio broadcasts on NBC from the Cotton Club. Calloway also appeared on Walter Winchells radio program and with Bing Crosby in his show at New Yorks Paramount Theatre, as a result of these appearances, Calloway, together with Ellington, broke the major broadcast network color barrier. Many of his records were vocal specialties with Calloways vocal taking up the majority of the record, in 1931 Calloway recorded his most famous song, Minnie the Moocher. Through rotoscoping, Calloway performed voiceover for these cartoons, but his dance steps were the basis of the characters movements and he took advantage of this, timing concerts in some communities to coincide with the release of the films in order to make the most of the publicity. As a result of the success of Minnie the Moocher, Calloway became identified with its chorus and he also performed in the 1930s in a series of short films for Paramount
4. Betty Carter – Vocalist Carmen McRae once remarked, Theres really only one jazz singer—only one, Betty Carter. Carter was born in Flint, Michigan, and grew up in Detroit, as a child, Carter was raised to be extremely independent and to not expect nurturing from her family. Even thirty years after leaving home, Carter was still aware of and affected by the home life she was raised in. But there was…no real closeness, where the family urged me on and she studied piano at the Detroit Conservatory at the age of fifteen, but did not exceed a modest level of expertise. At the age of sixteen, Carter began singing, as her parents were not big proponents of her pursuing a singing career, Carter would sneak out at night to audition for amateur shows. After winning first place at her first amateur competition, Carter felt as though she were being accepted into the music world and decided that she must pursue it tirelessly. When Carter began performing live, she was too young to be admitted into bars, even at a young age, Carter was able to bring a new vocal style to jazz. The breathiness of her voice was a characteristic seldom heard before her appearance on the music scene, Detroit, where Carter grew up, was a hotbed of jazz growth. Gillespie is often considered responsible for her passion for scatting. In earlier recordings, it is apparent that her scatting had similarities to the qualities of Gillespies, at the time of Gillespies visit, Charlie Parker was receiving treatment in a psychiatric hospital, delaying her encounter with him. However, Carter eventually also received an opportunity to perform with Parker, as well as with his band consisting of Tommy Potter, Max Roach, and Miles Davis. After receiving praise from both Gillespie and Parker for her vocal prowess, Carter felt a strong burst in confidence, in 1948, Carter was asked by Lionel Hampton to join his band. Carter finally had her big break, Hampton obviously had an ear for talent and a love for bebop. Carter too had a love for bebop as well as a talent for it. Hamptons wife Gladys gave her the nickname Betty Bebop, a nickname she reportedly detested, despite her good ear and charming personality, Carter was fiercely independent and had a tendency to attempt to resist Hamptons direction, while Hampton had a temper and was quick to anger. Hampton expected a lot from his players and did not want them to forget that he was the bands leader and she openly hated his swing style, refused to sing in a swinging way, and she was far too outspoken for his tastes. Carter honed her singing ability while on tour, which was not well received by Hampton as he did not enjoy her penchant for improvisation. Over the course of two and a half years, Hampton fired Carter a total of seven times, because of Hamptons hiring of Carter, she also goes down in history as one of the last big band era jazz singers in history
5. Joyce Cobb – Joyce Cobb is an American singer specializing in jazz and R&B. She is closely associated with blues and jazz artists, most specifically being in the style and lineage of Memphis Minnie, Bessie Smith, Billie Holiday. Joyce Cobb was born on June 2,1945 in Okmulgee, Oklahoma, in 1955 her family moved to Nashville, Tennessee, when her father was hired at Tennessee State University as the head of the Health and physical education department. Her parents owned a record collection of music that was influential on her at a young age. Her first vocal training during that time was at Cathedral of the Incarnation, during grade and high school this mainly consisted of singing requiems and she sang in the girls glee club and choir during that time also, Cobb had 14 years of private piano training. From 1963 to 1967 she attended Central State University and acquired a degree in Social Welfare. Her professional music career started in Dayton, Ohio singing with different blues, while pursuing a masters degree at Wright State University in social work by day, she was singing in clubs at night. She was offered a gig singing in duo with Bill Temme for Ramada Inn hotels. Between 1969 and 1971 Cobb was on Ramada Inns Midwest circuit for entertainment, performing in duo under the title Joyce and William Duo both singing and playing guitars. After two and a half working for the Ramada hotel chain she returned to Nashville in 1971 and worked in a variety of musical genres appearing at Opryland, on radio. She was one of the first acts at Opryland USA in 1972 and was voted Best Performer in 1974 and she became a regular fixture on WSM-AM radios The Waking Crew with Ralph Emery, in addition to the Ralph Emery Show on NBC affiliate WSMV-TV, broadcasting out of Nashville. She also was a regular guest on Teddy Barts The Noon Show and this first country music single was to launch her career, it was the last time she would record in that genre. Due to her success in country music with a promising hit single, in 1976 she was signed with Stax Records. Unfortunately the label was in decline at this time and went out of business shortly after she moved to Memphis, I said, Oh, I want to stay here. Shortly after her move to Memphis Al Bennett acquired Hi Records in 1977, Cream produced a different set of artists than Cobb started with in Nashville, they had a solid reputation making soul, R&B, and disco recordings. With Cream, she first recorded a Top 40 hit single in 1979 with her original tune Dig The Gold and it was distributed in North America under for the Cream label and sold in Europe under the Polydor label. The single showed her versatility as both a performer and writer, a reggae style song that was put to a funk/disco beat, Dig The Gold charted to #42 for Billboard and #10 for Cashbox giving her a first real success as an internationally recognized pop artist. With her reputation growing as a pop singer and writer who could handle a variety of styles
6. Scatman Crothers – Crothers was born in 1910 in Terre Haute, Indiana, the son of Donnie/Donel and Benjamin Crothers. He obtained the name Scatman when he auditioned for a show in 1932 at the former WSMK in Dayton. The director did not think his given name seemed catchy enough, so Crothers devised the handle Scat Man, although this talent, scat singing and he continued to enjoy this talent throughout his career, even teaching scat singing to college students. Later, the nickname was condensed to Scatman by Arthur Godfrey, in his early career, he also associated with many Cleveland-based acts and frequently played on the scene in Ohio. Crothers started his career as a 15-year-old drummer in a speakeasy band in his home town of Terre Haute. He played a variety of instruments, including drums and guitar, among the people for whom he performed was the notorious gangster, Al Capone. Crothers formed his own band in the 1930s and traveled to Oakland, California and he played piano at the Port O Call and Walts 405 Club. He also appeared in a 1950 episode of The Phil Harris-Alice Faye Radio Program performing Chattanoogie Shoe Shine Boy with Harris and he left Oakland to stay in Los Angeles in 1952. Crothers made his debut in the movie Meet Me at the Fair. He worked in movies and television, often taking bit parts. He also made musical shorts and played drums with Slim Gaillard in the mid-1940s, Crothers then landed a major supporting role in the 1970 animated film The Aristocats from Walt Disney Productions, providing the voice of Scat Cat. He also performed the theme song Evrybody Wants to be a Cat. Good friends with Jack Nicholson, he appeared in four of his films, The King of Marvin Gardens, The Fortune, Ralph Bakshis Coonskin, One Flew Over the Cuckoos Nest, and The Shining. An angel in Two of a Kind and finally Mr. Bloom and he is among the characters from the original Autobot lineup of the previous two seasons who survives the film. Some sources erroneously list him as a dancer in the Duke Ellington short, Symphony in Black, later, he encounters his jilted lover, played by the also uncredited Billie Holiday. They briefly have words, he pushes her down and exits with his new girlfriend before her song and this role was actually played by Earl Snakehips Tucker, who also appears at the end of the short. In the 1970s, fans recognized his voice as Hong Kong Phooey. In 1966 an animated special from the Hanna-Barbera studios aired called The New Alice in Wonderland, a hip take on the Lewis Carroll story that featured Sammy Davis, Jr. I. in 1980, and Taxi in 1983
7. Esra Dalfidan – Esra Dalfidan was born in 1975, of Turkish parents, and raised in the German industrial town of Solingen. After a brief career as a music therapist, and after 10 years of studying classical guitar, she decided to switch her life round and she was admitted to the Amsterdam Conservatory to study jazz singing and completed her Masters degree in 2007 with honours. She now lives in the Netherlands, as a singer she is difficult to categorize, but it would be fair to say that the core of her music is founded on the broad carpet of musical styles that we call jazz. Her own compositions are crisp and precise and full of irregular and changing tempi, 5/4, 7/4, each of her songs tells a story, and leads the listener on a journey through the singers and listeners landscape of memories and emotions. Its probably not for nothing that her CD liner notes contain the brief reminder Based on a true story, all this makes for a musical experience quite unlike any other. Her voice is always on the move, in her songs, the presence and absence of her voice provides a nice balance between her singing and playing time for her band members. She sings words and scats, she is loud, she is soft, she is in ballad mode, the pure sound of her voice opens up the mind like Coltranes tenor sax could, when playing tunes like India, Spiritual, Olé. There is a similarity in timbre and straight sound with no or minimal vibrato. With this variety and complexity the music never sounds complex or difficult, on the contrary, it sounds natural, not least because her band members are so well attuned to her and her band is called Fidan, a Turkish word meaning twig or branch. The instrument suits the music, and is played brilliantly, echoing the genius of Eric Dolphy at times, award winning pianist who moves in and out of and around the singers tunes weaving a carpet of patterns that supports the whole band beautifully. At times reminiscent of McCoy Tyner in the famous Coltrane group of 1960-1965, Sean Fasciani is an award winning bassplayer who rejoined Fidan in 2009, after spending time in New York City. With his distinct sound and groovy basslines Sean brings a sexy swing to the band, supports the complex tempi and rhythms effortlessly without ever sounding facile, and there are duets between voice and drums that are breathtaking. As her main influences and source of inspiration Esra mentions the Azeri singer and pianist Aziza Mustafa Zadeh, Aziza developed a unique blend of jazz, modern, and Azeri traditional music, called mugam jazz. To get a taste of Azizas music click here, Maria João created a style similar to Esras, mixing jazz, traditional Portuguese, modern and world music. Check out Maria Joãos fan clubs website to see and hear some of her performances, the Turkish popular singer Nilüfer features as a secondary influence. The second half of 2008 is marked by new compositions and collaborations, notably a series of concerts with the Tineke Postma Group, Esra also features in an ensemble called Gandhi Bazaar, created and led by Ned McGowan. Particularly remarkable is the interplay between two master percussionists in the group, Indian drummer B. C, manjunath and Spanish percussionist Enric Montfort. The Gandhi Bazaar concert tour was commissioned by the Dutch Fund for the Performing Arts and her debut CD Colors contains 11 tracks,9 compositions of her own, and two traditional songs from Azerbeidjan