Vocal Jazz Quotes

The vocal chorus will be along shortly: I like that part especially and the abrupt manner in which it throws itself forward, like a cliff against the sea. For the moment, the jazz is playing; there is no melody, only notes, a myriad of tiny jolts. They know no rest, an inflexible order gives birth to them and destroys them without even giving them time to recuperate and exist for themselves. They race, they press forward, they strike me a sharp blow in passing and are obliterated. I would like to hold them back, but I know if I succeeded in stopping one it would remain between my fingers only as a raffish languishing sound. I must accept their death; I must even will it. I know few impressions stronger or more harsh.

By the way, this tells you why Auto-Tuned vocals on many contemporary records sound so shallow and lifeless. It’s almost as if everything we learned from African American music during the twentieth century was thrown out the window by technologies in the twenty-first century. The goal should not be to sing every note dead center in the middle of the pitch---we escaped from that musical prison a hundred years ago. Why go back? In an odd sort of way, much of contemporary pop music resembles opera, with all the subtle shadings of bent notes and microtonal alterations abandoned in the quest for mathematically pure tones.

This new generation of Italian American entertainers shared Sinatra’s view of the new dance music that emerged in the 1950s. “Rock-and-roll is the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear,” Sinatra told Congress in 1958. “Rock-and-roll smells phony and false. It is sung, played, and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd—in plain fact, dirty—lyrics … it manages to be the martial music of every sideburned delinquent on the face of the earth.” In response to the raw, driving sexuality of black-influenced rock, young Italian American men in New York and Philadelphia did to the new music what Sinatra and his generation had done to jazz. A style combining smooth vocal harmonies, romantic lyrics, and a stationary stage presence, doo-wop was invented in the 1940s by black youth on street corners, but it shot to the top of the pop charts in the late 1950s when Italian Americans adopted it as their own—just as most African American performers moved toward “soul music.” From 1958, when Dion (DiMucci) and the Belmonts placed several songs on the pop charts, until the “British Invasion” of 1964, Italian American doo-wop groups dominated American popular music. All wearing conservative suits and exuding a benign romanticism, the Capris, the Elegants, the Mystics, the Duprees, the Del-Satins, the Four Jays, the Essentials, Randy and the Rainbows, and Vito & the Salutations declared the arrival of Italians into American civilization. During the rise of doo-wop and Frank Rizzo, Malcolm X mocked the newly white Italians. “No Italian will ever jump up in my face and start putting bad mouth on me,” he said, “because I know his history. I tell him when you’re talking about me you’re talking about your pappy, your father. He knows his history. He knows how he got that color.” Though fewer and fewer Italian Americans know the history of which Malcolm X spoke, some have reenacted it.

Before embarking on this project, I doubt I ever truly properly appreciated precisely how urgent the various voices of the New Testament authors are, or how profound the provocations of what they were saying were for their own age, and probably remain for every age. Those voices blend, or at least interweave, in a kind of wildly indiscriminate polyphony, as if an early Baroque vocal trio, an Appalachian band, a couple of Viennese tenors piping twelve-tone Lieder, and a jazz crooner or two were all singing out together; but what all have in common, and what somehow forges a genuine harmony out of all that ecstatic clamor, is the vibrant certainty that history has been invaded by God in Christ in such a way that nothing can stay is it was, and that all terms of human community and conduct have been altered at the deepest of levels.

Cabin in the Sky, in 1943. Based on the story of a drunken gambler given a second chance to redeem himself or face the fiery pits, the movie featured a bevy of Black actors with breathtaking vocals, vivacious dancing co-choreographed by the legendary Katherine Dunham, and the pulsating music of jazz great Duke Ellington and his band.

Those voices blend, or at least interweave, in a kind of wildly indiscriminate polyphony, as if an early Baroque vocal trio, an Appalachian band, a couple of Viennese tenors piping twelve-tone Lieder, and a jazz crooner or two were all singing out together; but what all have in common, and what somehow forges a genuine harmony out of all that ecstatic clamor, is the vibrant certainty that history has been invaded by God in Christ in such a way that nothing can stay as it was, and that all terms of human community and conduct have been altered at the deepest of levels.

By the way, this tells you why Auto-Tuned vocals on many contemporary records sound so shallow and lifeless. It’s almost as if everything we learned from African American music during the twentieth century was thrown out the window by technologists in the twenty-first century. The goal should not be to sing every note dead center in the middle of the pitch—we escaped from that musical prison a hundred years ago. Why go back? In an odd sort of way, much of contemporary pop music resembles opera, with all the subtle shadings of bent notes and microtonal alterations abandoned in the quest for mathematically pure tones. In theory, software should be able to re-create all the nuances of analog Africanized sound, but judging by the pop records I hear, we are still a long way from realizing that goal.

During World War II, rationing in Russia had made vinyl prohibitively expensive, and cheap X-ray film became the bootleg music industry’s substitute. After purchasing a used X-ray plate for a ruble or two from a medical facility, music lovers could cut the plate into a disk with scissors or a knife before having it etched with their favorite tunes. Students studying engineering, I was told, particularly excelled in this bootlegging process. But even a thawed Khrushchev regime had its standards to uphold, and in 1959 the government began a crackdown on this illicit music market. One government tactic was to flood record shops with unplayable records, many intended to damage record players. Some of these records included threatening vocals placed in the middle of a recording, which screamed at the unsuspecting listener, “You like rock and roll? Fuck you, anti-Soviet slime!” Eventually the use of bone records declined as replacement technologies, such as magnetic reel-to-reel tape, took over. But until then, bone-record makers were hunted down and sent to the Gulags. Particularly offensive to the Soviet government were bootleggers who reproduced American jazz records, music Stalin had declared a “threat to civilization.” Despite

Billie Holiday Her imperfect life led to her becoming a legendary performer with a continuing influence on American music. Born Eleanora Fagan on April 7, 1015 she became a songwriter and jazz singer with an unmistakable vocal style. Although she had a limited range her delivery, tempo and natural skills, held the attention of a devoted following. Influenced by Louis Armstrong and Bessie Smith her success as a pop singer with the Benny Goodman Band started with "Riffin' the Scotch", which sold 5,000 copies. She continued with Count Basie and Artie Shaw and was recognized throughout the 1930s and the 1940s with songs such as “I’ve Got My Love To Keep Me Warm,” “What a Little Moonlight Can Do” and “God Bless the Child.” Plagued with abusive relationships, drug and alcohol addiction, and even a short prison sentence she still rose to the top of the charts. Her predictable deterioration and eventual death on July 17, 1959 was caused by cirrholis of the liver.

Porter’s next new Hollywood work, MGM’s High Society (1956), was second-division Porter. It hit his characteristic points—the Latin rhythm number in “Mind If I Make Love To You,” the charm song full of syncopation and “wrong” notes in “You’re Sensational.” Porter even turned himself inside out in two numbers for Louis Armstrong, “High Society Calypso” (the Afro-Caribbean anticipation of reggae had just begun to trend in America) and, in duet with Bing Crosby, “Now You Has Jazz.” And the film’s hit, “True Love,” is a waltz so simple neither the vocal nor the chorus has any syncopation whatever. This is smooth Porter, the Tin Pan Alley Porter who wants everyone to like him, even the tourists. Everything about High Society is smooth—to a fault. Armstrong gives it flair, but everyone else is so relaxed he or she might be bantering between acts on a telethon. These are pale replicas of the characters so memorably portrayed in MGM’s first go at this material, The Philadelphia Story, especially by Katharine Hepburn and Cary Grant. In their first moment, the two are in mid-fight; she breaks his golf clubs and he starts to take a swing at her, recalls himself to manly grace, and simply shoves her self-satisfied mug out of shot. This is not tough love. It’s real anger, and while Philip Barry, who wrote the Broadway Philadelphia Story, is remembered only as a boulevardier, he was in fact a deeply religious writer who interspersed romantic comedies with allegories on the human condition, much as Cole Porter moved between popular and elite composition. Underneath Barry’s Society folderol, provocative relationships undergo scrutiny as if in Christian parable; his characters are likable but worrisome—and, from First Couple Bing Crosby and Grace Kelly on down, there is nothing worrisome in this High Society.

I’m rattling about in this house, just me and the cardboard boxes. I would have jumped straight back into Genesis, but Mike and Tony have taken advantage of my emotional sabbatical to begin making the solo albums after which they’ve long hankered. In the course of 1979 both spend time in Stockholm, recording at ABBA’s Polar Studios. They hadn’t considered that my love-dash to Vancouver would be so abortively short. Nor had I. Lest I go completely off the rails, I start channeling my energies into whatever musical distraction I can find. Someone recommends me to English singer-songwriter John Martyn, he of the seminal 1973 folk jazz album Solid Air. John asks me to drum on the album that will become Grace & Danger. As we become close, he discovers I can sing a bit, and I add background vocals on the beautiful “Sweet Little Mystery.” I fall in love with John and his

They began a new version of ‘Baby’s Request’ the next day. The song has been likened to ‘Honey Pie,’ a pastiche in a 1930’s pop style, but there is a difference. While ‘Honey Pie’ was a sly parody of the style, ‘Baby’s Request’ is a straightforward adaptation of the style’s hallmarks, commissioned by a vocal group that specialized in it. It also suited one side of Paul’s compositional sensibility at the moment: except for the overt punk-influenced tracks, a growing number of his recent compositions used a harmonic language more germane to jazz than rock. In ‘Baby’s Request,’ augmented chords, and chords with added sevenths and ninths are plentiful and support a gentle, eminently croonable melody.

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