For many, jazz vocals are a strange and argumentative subject.For me, I love that argument.I believe there is one thing on which we can all can agree -- there will never be another Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Carmen McRae, Helen Merrill, Jimmy Rushing, Mel Torme, Johnny Hartman, Anita O'Day and someday Tony Bennett. I could go on but I think you get the idea.But today we have a number of vocalists who have picked up the mantle in fantastic fashion. Many of whom should get more respect than they do within the jazz community. In this two part entry I wanted to give my thoughts and a list of current artists whom I believe are either moving forward with the tradition of jazz vocals or are adequate pretenders that are okay for your dinner party. I've also included a couple of videos from youtube that are pretty interesting.Stacey Kent (b.1968)
Stacey Kent is an American born singer married and living in England. Her style is very relaxed. She mainly sticks to standards and performers them extremely well; She has continued to hold the candle for the great American Songbook. She has recorded seven albums the most recent entitled Breakfast on the Morning Tram (Blue Note), although I feel the perfect selection of upbeat and mellow recordings for the beginner exist on her 1999 album Let Yourself Go (Candid Records). An enjoyable adventure for you if you're looking for new vocalists."Shall We Do? (Live In Stuggart): http://www.youtube.com/watch?v=rxFIot-2s3UClaire Martin (b.1967)
Claire Martin for me is far and away the leader of this entire list. She has been around a long time and her material contains standards, originals and an interesting array of covers (David Sylvian, Nick Drake among others). She has a delicate and extremely well concentrated delivery that will captivate you from the start. Try the album Take My Heart as a great starting point. It features covers of Thomas Dolby and the aforementioned Sylvian and Drake. Also for a good overview of her first seven albums (she has eleven in all), try The Very Best Of Claire Martin (Linn Records)."Gettin' High" (Live): http://www.youtube.com/watch?v=mIOUvgLM06AMark Murphy (b.1932)
Mark is not every one's cup of tea. His vocals are almost spoken at times. At others they are like Haiku. Either way in my opinion he is a benchmark for many jazz vocalists. Think what Al Jarreau or Bobby McFerrin could do if they had better songwriters or songs to write about. Mark has been best known for his Kerouac recordings from the sixties, Bop For Kerouac and Kerouac Then And Now. He has released two critically acclaimed albums in the last four years Once To Every Heart and Love Is What Stays (both on Verve). His current work with a number of European jazz artists has raised his profile among the "Hip Crowd" but that's worth it. I do recommend you try him out even if you end up not liking him. It's worth the listen to see what an adventurous vocalist can do."Empty Faces" (Live from a forthcoming documentary): http://www.youtube.com/watch?v=61d7PpVmfzUDiana Krall (b.1964)
Talk about not every one's cup of tea. Now we've reached it. I am not a fan of Diana Krall at all. I'm still trying to figure out what the fascination is with her. She is an average piano player. Her standards are very pedestrian. And finally her vocals are raspy to the point of pretentious. I see the possible Carmen McCrae influence but it's n
ot having any impact on me. To contradict myself I understand that sometimes this marginal fare is easily digestible to the public at large and for that, more power to her. She has a large enough discography now that she also has a best of compilation, The Very Best Of Diana Krall (Verve) that is probably a good place for anyone other me to start.Karrin Allyson (b.1963)
An Amazing vocalist who has experimented with each album - She has delved into the American Songbook, jazz standards, pop, blues and most recently bossa nova and samba. Her most popular album was the 2001, Ballads: A Tribute To John Coltrane (Concord Records). I continue to enjoy her exploration into different genres. It sometimes is not easy for the uninitiated but if you like your favorite musicians to experiment and not put out the same album year after year than I suggest Karrin Allyson as option. Check out In Blue (Concord Records) for starters. She is a magnificent composer, pianist, & songwriter who I'm sure you will come to love. Karrin Allyson has also just released her first compilation entitled By Request: The Best of Karrin Allyson (Concord Records)."Moanin" (Live At Montreux): http://www.youtube.com/watch?v=V5PLPI9DCA8This is only the beginning. Take a listen and experience these artist for yourself. I hope you enjoy them and I would be interested in hearing your opinions. Jazz vocalists are a slightly different breed and everyone has a different vibe that they are looking for. I hope yours lays somewhere in this two part discussion.More next time.
Rafi Zabor The Bear Comes HomeThere have been many novels that reference jazz songs or musicians. But there are few novels that are based in jazz. Rafi Zabor's (so far only) 1997 novel The Bear Comes Home is one of those rare novels. It circles around the main character rightly named, Bear, who is an alto sax perfectionist.The story follows Bear through his life striving to emulate John Coltrane and Sonny Rollins. He also struggles with his own demons and relationships just like us humans do. The story is compelling, touching, thoughtful, loving and inspiring for us all. While based in jazz it is an easy story to digest and you will fall in love with Bear--no doubt about it.The Bear Comes Home was a national best seller upon its release in 1997. I always hoped that Rafi Zabor would write another novel but it has since not appeared. I highly recommend this book which after twelve years is still available at your local bookstore and online.Amazon: http://www.amazon.com/Bear-Comes-Home-Rafi-Zabor/dp/039331863X/ref=ntt_at_ep_dpi_1
Portions of the following are excerpts from the book Film and Television Scores, 1950-1979 (McFarland, 2008) by Kristopher Spencer, founder of Scorebaby.com.
Another couple of jazz legends who cut soundtracks during the ’60s and ’70s are Herbie Hancock and J.J. Johnson.
On Blow Up (’66) — Michelangelo Antonioni’s existential crime film about a hip London fashion photographer who thinks he’s witnessed a murder — Hancock draws upon his hard bop and rare groove chops. The results aren’t particularly cinematic — one could easily be fooled into thinking this is one of Hancock’s Blue Note recordings from the same period — but they are kicky nonetheless. One of the best tracks is the bouncy “Bring Down the Birds,” which dance pop group Dee-lite sampled for their early ’90s hit “Groove is in the Heart.” The soundtrack also features “Stroll On” by The Yardbirds, who appear in a riveting club scene.
By the time Hancock scored Death Wish (’74), he’d already moved on to fusion. For this Charles Bronson vigilante flick, Hancock creates a mood of sophisticated yet funky suspense. The densely arranged and tension-mounting main theme is worth the price of admission alone. On “Do a Thing” and “Paint Her Mouth,” he opts for more minimalistic arrangements to more disturbing effect. The centerpiece of Death Wish is the 9-minute “Suite Revenge,” which explores stylistic cues from atonal symphonic, as well as African tribal drumming and Hancock’s penchant for synth sounds. Hancock’s score for Death Wish, while not as immediately accessible as the groovier Blow Up, is an intriguing, richly detailed crime score every bit as gritty as the movie.
One of the best soundtracks of ’72 and of the blaxploitation era is Across 110th Street, featuring music by legendary jazz trombonist J.J. Johnson and songs performed by Bobby Womack & Peace. Hit-maker Womack’s theme song boasts a memorable hook, a sweeping arrangement and a lyrical message that doesn’t pull punches about organized crime and the drug epidemic. Womack also contributes a tender ballad (“If You Don’t Want My Love”), an up-tempo pop number (“Quicksand”), a bit of hard funky rock (“Do It Right”) and raucous feel good soul (“Hang On In There”). Johnson performs instrumental versions of most songs, but his contribution is most noticeable on “Harlem Clavinette,” which raised the bar on cinematic funk with its pulsating rhythm and bubbly mix of brass, wah guitar, clavinet keyboard, percussion and electronics. J.J. Johnson also contributed excellent soundtracks for Cleopatra Jones, Trouble Man (with Marvin Gaye) and Willie Dynamite.
Want to read more about groovy soundtracks? Visit http://www.scorebaby.com/
Jay Jay Johnson (a.k.a. J.J. Johnson; b. 1924 - d. 2001)Widely known as one of the masters of the trombone along with his former co-leader Kai Winding, J. J. Johnson is the benchmark against which all trombone players are measured.J. J. along with Kai gave the trombone a vogue-ish feel during their time together. Most people don't associate the trombone nowadays because so few use it in their bands (except in large ensembles). J. J. Johnson made it sound essential no matter what the setting (quartet, quintet, ensemble or orchestra). At times you would almost think you were listing to a saxophone.There is no denying that J.J. Johnson is one of the most important musicians in jazz history. He practically has never made a bad record. Many jazz fans will point to the two Blue Note albums, The Eminent Vol. I and Vol. II as the J. J. Johnson albums with which to start. I would not disagree. And for those of you that enjoy soul/R&B, J. J. Johnson also did the soundtrack for the 70s classic "Across 110th Street" featuring vocals from Bobby Womack.If you want to hear an unfashionable instrument sound so incredibly beautiful, these two albums are a must for your collection.
