Jazz singing. Top Jazz Artists to Make Your Day

Music can be both instrumental and vocal, but historically, man's first instrument was undoubtedly his voice.

Jazz has its own characteristics of singing, which gradually changed in parallel with the general evolution of jazz. Jazz vocals are one of the essential means jazz expressiveness. First participation human voice in jazz was a somewhat anomalous phenomenon, because instead of free improvisation (like an instrumentalist), the performer only had a sample text. However, they (voice and music) may have equivalents - for example, jazz and the singing of Louis Armstrong, from whom in the 20s. in fact, jazz vocals began (not without reason the famous history book, dedicated to the famous jazz singers of America, is called “Children of Louis”, 1984).

Although in reality there is no strict definition of jazz vocals, if you name its most distinctive characteristics, then it will be clear what we are talking about we're talking about, what is in the center (but at the same time, like any music, you mainly need to listen to it, which is what jazz singers do, learning from each other).

Jazz vocals are determined by the individual qualities of the singer (as well as the musician), this includes a jazz style of performance, characteristic vocal timbres, unique tonal qualities and, in addition, jazz phrasing, jazz “attack”.

Over time in the process of development jazz music vocalists increasingly tried to imitate instrumentalists in their improvisations, which was most clearly manifested in the manner of so-called “scat singing” (i.e. phonetic improvisation, when the performer uses not words or phrases, but simply individual syllables).
Singing with "phonemes" is also the most important distinctive feature jazz vocals. The beginning of “scat” was, as the story goes, back in 1926 by the same Louis Armstrong, being both a singer and an instrumentalist, since on his trumpet he played almost the same notes and phrases that he sang, and vice versa .

During the 40s, in connection with the advent of the “bop” style, jazz singing became significantly more complex, receiving the name “bop-scat”, which was greatly facilitated by Ella Fitzgerald.

Historically, the specificity of jazz vocals is largely determined by its connection with the folklore of North American blacks, and primarily with the blues. Therefore, it is characterized by an expansion of means of expression compared to traditional European technique, manifested in the use of glissando, falsetto, vibration, nasal guttural sounds, whispering or sharp acceleration of notes, as well as other external sound effects.

The blues had both spiritual and secular roots in African-American vocal history, but the early folk blues singers are now as different from the modern jazz vocalists as a poor man's shack is from a Hollywood villa.

But all modern jazz vocals are still inextricably linked with the blues, which runs like a red thread through the entire history of jazz and is its cornerstone. Over the course of many decades of our century, there have been (and are) thousands of vocalists (singers and singers) in jazz, as well as instrumentalists, so it is unrealistic and impossible to mention all of them even in the most complete “Encyclopedia of Jazz”. Let's name at least a few names.

After the great Bessie Smith (20s), the “Empress of the Blues,” Billie Holiday was considered an equally great jazz singer, a role model for all subsequent generations and the first standard of jazz vocals (1915-1959).

Then long years The "First Lady of Jazz" was the incomparable Ella Fitzgerald (1918-1996).

A special position was occupied by the inimitable jazz singer Sarah Vaughan (1924-1990) was the kind of singer who only appears perhaps once every hundred years or more.

The most magnificent vocalist was the white singer Anita O'Day, who performed with the orchestras of Gene Krupa, Stan Kenton and other large and small ensembles (b. 1919), as well as the unique “star” of gospel music (gospel songs) Mahelia Jackson (1911-1972).

Among the male singers who stood (independently from Louis Armstrong) both at the origins of jazz vocals and popular music America as a whole, first of all, one should name the great “crooner” Bing Crosby (1904-1977) - obviously the most famous vocalist of the country from the late 20s to the end of the 70s. But already in the early 40s, he was noticeably displaced on the honorary pedestal of fame by the then young Frank Sinatra (1915-1998), nicknamed “The Voice,” whose era continued until his 80th birthday.

He was a truly outstanding singer who set new standards for modern vocals. A truly unique figure in both jazz and popular music was the black pianist and vocalist Nat "King" Cole (1917-1965), whose daughter Natalie Cole now also became famous singer with your own merits.

Familiar to the whole world Ray Charles(1932-2004) as a performer of rhythm and blues, gospel, country, soul music, jazz and popular songs, pianist, organist and vocalist, who went on tour in Moscow in the summer of 1994. And for many years Joe Williams (1918-1999), a performer of modern blues and jazz standards, remained an equally incomparable vocalist, mainly with the Count Basie Orchestra.

In the history of jazz vocals of the 20th century, there were also numerous vocal ensembles and groups (i.e. trios, quartets, etc., homogeneous or mixed) that were not directly part of jazz at first. Back then these were usually bands performing modern popular songs. But in subsequent years, the tendency of such groups to include professional jazzmen in their composition significantly increased the level of harmonic essence of their performances.

These groups gradually fully comprehended the vocal phrasing of techniques in the manner modern jazz and were accepted to equal rights in jazz circles, whereas their predecessors were more associated with the field of popular music (both on their own and through big bands).

IN chronological order such compositions were female vocal groups - the Boswell Sisters Trio (from 1931), then the Andrews Sisters Trio, the McGuire Sisters Trio, the Clark Sisters Quartet (performing with the Tommy Dorsey Orchestra in the 40s under the name "Sentimentalists"), the King Sisters Quartet .

Among the early men's ensembles, the most famous were the Mills Brothers (a black vocal quartet with guitar) in the 30s and 40s, the Four Freshman Quartet in the early 50s, and the Hi-Los Quartet from the mid-50s. Great interest was aroused by the appearance in 1958 of a new, undoubtedly jazz group - the mixed vocal trio Lambert - Hendrix - Ross, which for the first time released a record using recording overdubbing technically.
It is necessary to mention the unique French group “Swingle Singers” of 8 people (something like a “third movement”, who sang the themes of J. S. Bach, accompanied by bass and drums). Nowadays there are vocal ensembles like more popular destination(Ray Conniff's choir of 16 people), and purely jazz - quartets "Singers Unlimited", "Manhattan Transfer", etc.

Specifics of jazz vocal performance (general trends)

The specificity of jazz vocals in comparison with academic singing is manifested in different requirements to voice, technique and aesthetics of performance.

In academic singing, certain, quite stringent requirements are put forward for the characteristics of the singer’s voice. First of all, the singer must have a range of at least two octaves (at initial stage development). Academic voices are classified according to timbre and tessitura characteristics: soprano, mezzo-soprano, contralto, tenor, baritone, bass). Each voice must meet certain range requirements, according to which composers write vocal works. A professional voice must also have timbre beauty, colorfulness, and sufficient strength.

In jazz vocals, there are no divisions of voices according to timbre-tessitura characteristics (high/low, male/female), as well as strict requirements for range. Having a wide range is encouraged (Ella Fitzgerald - more than two octaves), but not required (Billie Holiday - an octave). In jazz they say that a singer has a specific “jazz timbre”, but the absence of such is not a sign that the singer is unsuitable for jazz singing. For example, low female voices are considered more acceptable, but singers with light, high voices also achieve recognition in jazz (Barbara Streisand, vocalists of the Real Group). A voice timbre that is not suitable for academic singing can find application in jazz: it has its own laws of beauty. Voice strength is also not an indispensable criterion for jazz vocalists (thanks to microphone singing).

Requirements for performance techniques and techniques. Academic singing is covered and requires rounding of the sound. The voice in all parts of the range should sound smooth both timbre and dynamically. Academic singers use head and chest resonators, mixing them in the middle part of the range. Thus, the registers are smoothed out and the transition between them is not audible. Throat and nasal singing is unacceptable. The most important professional quality is the presence of a cantilena - a coherent sound, when sounds “flow” from one to another. Performances with great symphony orchestra V concert halls require the creation of conditions in the vocal apparatus that promote greater sonority. All academic singers sing in almost the same manner, since they have uniform and fairly defined criteria for the sound of their voice. There are two groups techniques used in academic vocal art: 1) used at the request of the composer (glissando, trills, grace notes, etc.); 2) used at the discretion of the vocalist-interpreter (such as portamento - a smooth sliding transition from one sound to another). Men use falsetto singing as an additional color, which is unacceptable for women. To perform recitatives in operas, a technique called declamation is used - singing in a conversational manner.

Jazz singing is initially more open and free than academic singing. The openness of the sound is most likely explained by the open sound of the native jazz English speech and the characteristics of the vocal apparatus of African-American singers. Jazz vocals do not cultivate smoothness of registers; on the contrary, the contrast of voice sound in different registers is additional paint. Singing in a low tessitura is accompanied by increased emphasis on the chest timbre, which is somewhat dull and rough. In the sound of the middle and upper registers, throat sounds and falsetto are allowed. The main difficulty of singing in a jazz style is the need to frequently (sometimes within one phrase) change the technique of sound production. For academic singers, on the contrary, it is important to use the same sound production technique throughout the entire work. Every jazz singer tries to develop an individual style of singing, unlike that of other singers, for which he makes full use of the characteristics of his own voice. Jazz players not only do not eliminate, but sometimes exaggerate those vocal features that, from the point of view of academic singing, are considered shortcomings: hoarseness, hissing, partial non-closure of ligaments, unsmooth registers, throaty and nasal sound, lack of cantilena, unnatural exaggerated vibration.

The palette of techniques for jazz vocals is extensive. Glissando and portamento are used very widely and depend only on the singer. Falsetto singing, which evokes a feeling of unsupported, airy sound, extends to all registers of the voice and is used by both men and women. Often falsetto is combined with a “pressed” guttural sound, which gives the singing dynamic and timbre contrast. Nasal sounds are also not rejected by jazz players: a deliberately nasal sound is often used as an imitation of certain instruments. Along with whispering and talking, laughter, crying, groans and the so-called “shouts” and “hollers” effects are used - musical cries characteristic of the Negro style of singing, absolutely free in melodic and intonation terms. Features of the performing embodiment. Vocalists, both jazz and academic, interpreting one or another musical material and obeying the laws music performed, pursue different goals. Vocal academic art somewhat conservative. However, it cannot be said that development is alien to academic music. Views on the aesthetics of singing were different in different eras.

For example, in the 19th century, singing in unsmoothed registers was practiced. Differed regarding vocals and national schools. There were periods, and today there are styles and genres that are characterized by an “instrumental” interpretation of the voice, when the singer is required to have a developed, almost instrumental performance technique, and the actual singing features are muted. The following remains unchanged:

1) an academic vocalist is obliged to most accurately embody the composer’s plan, recorded in the musical text. Elements of improvisation were present only in da capo arias of the 17th-18th centuries. and partly operas of the 19th century;

2) important priorities of academic singing are its aesthetic beauty, technical perfection (hence the strict requirements for the voice, technique, and the need for voice production);

3) verbal and poetic side of academic vocal work just as important as the musical one.

Features of jazz vocal interpretation are as follows:

1) jazz vocalists are, first of all, improvisers and interpreters. The freedom of the vocalist is not limited by the musical text and instructions of the composer (in in a certain sense the singer himself is the author);

2) in jazz vocals they attach little importance to the beauty of the sound of the voice, but strive to achieve interesting jazz phrasing, special intonation, rhythm, swing, that is, to convey the specifics of jazz as clearly as possible in their singing;

3) jazz vocals are more “instrumental” than academic ones. Vocalists often do not go by contrasting voice and instrument, but, on the contrary, by imitating instrumental techniques and sound;

4) The instrumentality of singing became the reason for a formal attitude towards the poetic text or rejection of it. There are many examples of the performance of entire compositions through scat alone, i.e. without text.

Specific features of jazz vocals, formed in the process of its historical development, strengthened and deepened even more with the advent of bebop. Initially an instrumental direction, bebop made its own adjustments to the development of not only instrumental, but also vocal jazz.

The cost of classes starts from 600 rubles for 60 minutes. The cost is influenced by the tutor’s experience, the need to travel to the student and the level of knowledge you need.

Some tutors offer a free introductory lesson, or give a discount if you pay in advance for several lessons or are willing to study in a mini-group.

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Jazz vocal teacher - reviews

Pros: I don’t want to write formal words about Tatyana Vasilievna: “punctual”, “experienced” and “friendly”. They can’t tell much about her. Tatyana Vasilievna came to study classical vocals with her 9-year-old daughter. It’s nice that she wanted to teach, and It’s not polite to sit through class. The fact is that music school doesn’t give you any special knowledge. And my daughter never knew how to conduct, sight read or sing from notes. Tatyana Vasilievna revealed her weak sides and began to work on them. Taught...

conduct, open your mouth correctly, sing according to the notes and listen to yourself. She sorted out mistakes and showed the correct version of singing. She did not spare her singing talent and showed many times how a note should sound. During the lesson, they managed to work out a lot. The teacher herself selected the educational material: Vocalization ,Song, rather than working with a standard collection of exercises. Cons: None Description: Perhaps THIS REVIEW WILL HELP MAKE THE RIGHT CHOICE FOR STUDENTS AND PARENTS IN CHOOSING A TEACHER.

Natalia, Krasnogorsk

Order services: Vocals. Academic vocals.

1250 ₽

I liked the teacher for her attitude, character and professionalism. We did more jazz vocals, rather even a mixture with pop music. Elena Anatolyevna was always punctual, there were no problems with her. We did various breathing exercises. There is definitely an improvement in my voice.

Julia, metro station Altufyevo, Chistye Prudy

Order services: Vocals. Academic vocals. Jazz vocals.

1000 ₽

It so happened that I am writing a review about Marina Vladimirovna 8 months after the start of classes. I have been studying vocals for more than 5 years, I had to change 6 teachers. The fact that I am now studying with Marina Vladimirovna is great luck for me. This is a teacher who, from the first lesson, gives a mindset for Success and Development. This is a very demanding, high-quality, professional super teacher. And very beautiful woman, And wonderful person!!! Upon arrival to Marina Vladimirovna, I had...

goal: to reveal your vocal abilities, not be afraid to sing in public, learn proper breathing, and just sing, enjoying your voice, bringing joy to yourself and other people. In the very first months of classes, the results became visible (or rather, heard))). Marina Vladimirovna painstakingly, with patience, love and faith in me, guides me into those subtleties of vocal mastery that I was afraid to even dream of!!! The voice becomes stronger, the muscles responsible for correct positioning voices, fears, internal blocks and clamps that prevent the voice from opening disappear. I am beginning to understand and feel how my body works when singing. Dividing the lesson into 3 parts: chanting, working with vocalization, working on the repertoire, gives tangible results. Each lesson reveals and develops something new in vocal skills. Marina Vladimirovna, with great patience, shows and explains how to correctly do what did not work out. She selects an association that will help her correctly hit the right note or letter. Great importance is given to proper breathing: how to breathe, what to breathe, where to breathe; we learn to sing in such a way that the whole body works and feels the whole process of singing. The classes are very fruitful, joyful, and intense. I have a huge incentive to learn everything I can absorb! I highly recommend to anyone who wants to discover their voice, their vocal abilities; Anyone who wants to develop professionally as a singer or vocalist should turn to Marina Vladimirovna Efanova for help. She knows exactly how to help you!!!

They are closely intertwined in the work of many performers, successfully complementing and revealing each other. Jazz vocalists stand out from their colleagues with a strong voice with a large working range, and have a well-developed harmonic and melodic ear. In addition, performers who have chosen this vocal specialization master the art of vocal improvisation in professional level and are able to apply in practice specific sound production techniques characteristic of jazz. At the school site you can start learning any singing style you want.

It is not difficult to guess that pop-jazz vocals grew at the junction of two directions, reflected in its name. Let us dwell in more detail on each of them and their contribution to the emerging singing style.

Pop singing

Combines all the variety of singing techniques and possibilities. First of all, it points to singers working on the stage. In the minds of most listeners, pop music consists of light and easy-to-understand musical compositions. Unlike the academic style of performance, singing is more natural and open, but it also requires refined vocal skills, correct positioning and sound support. Folk and jazz motifs can be traced in pop songs.

Jazz

First of all, it stands out for its ideal rhythm and harmony. Singers have high vocal mobility and developed skills musical improvisation. It is impossible to work in this style without the ability to feel the form of the work. The vocalist must present his own understanding to the listener composition being performed. Musical theme can be modified in accordance with personal perception of the meaning of the song, but it is necessary to preserve the original harmony and beauty. The ability to feel musical partners is no less important.

Pop-jazz singing training

You can learn to sing through courses at music schools. So, by attending classes at the studio site, you:

• learn to fully control your own voice;
• you will begin to easily and cleanly perform singing compositions of varying complexity;
• acquire an individual style of performance;
• create an image pop performer;
• learn to behave freely in public and enjoy performing on a professional stage;
• acquire and bring vocal techniques to automatism;
• learn other skills needed modern performer. These include, for example, working with a microphone and recording equipment.

Hi all! I'm learning to play the saxophone at school! Nikita managed to create a very comfortable environment both in the room and during the learning process! Everyone who hated in childhood music school with evil teachers - it’s definitely worth coming and comparing))

I go to classes at the Sing&Play school, learning to play the guitar. Thank you so much for being able to develop such a thing. non-standard approach to learning music :). I am a beginner from the word “completely”, in addition to this I am also very busy, there is no opportunity to practice enough at home. However, there is clearly progress! :). The school is cozy, everyone studies in a separate, soundproofed room, all rooms have air conditioning, musical equipment, and all the necessary things for classes. Moreover, the administrator always helps students halfway if it is necessary to reschedule a lesson or resolve some organizational issues. Separately about Sasha - not only is he a cool musician and the lead singer of my favorite band, but he’s also just a great teacher. The classes are held in a relaxed atmosphere, he does not press, he is very patient, he does not “load” with theory, but somehow still conveys knowledge about the complex structure of notes and music. After classes there is always a feeling of flight and joy :)). I am truly grateful and will continue to come to you!!

I recently studied at school with Rufina Akhmetshina, at the age of 36 I was inspired to learn the violin :) Thank you very much for your patience, non-standard approach and acceptance of the problems of an “adult, working” student. Learning at will as an adult brings completely different sensations and motivation) I will be happy to continue! Thank you for the easy, non-standard approach to learning and always a positive attitude.

I've been studying vocals for about 4 months. I really like that the teachers pay attention to my tastes and aspirations and help improve my weak skills. Separately, it was a big cool surprise for me to organize events where I can perform and get a lot of emotions and develop my live performance skills. I like that the school is developing, there are new ideas, their own teams are being formed, there is an opportunity to get acquainted with talented people! Thank you very much Nikita, Ksenia and Ekaterina ❤

I’ve been dreaming about it for a long time and finally decided to learn the saxophone from scratch. I don’t remember why, but the choice fell on the Sing & Play school. I have never regretted it! Teacher Nikita Naimushin truly became a guru and guide to the world of music for me! A friendly atmosphere and professionalism are guaranteed! And I bow to my teacher for his patience and positivity :)

I have long wanted to learn to play the electric guitar. I found the Sing&Play school and have never regretted it. I studied for 4 months with teacher Andrei Danilov. The classes were extremely intense, but at the same time calm. There was enough time for everything: not only for theory and the game itself, but also for setting up technique and refining playing skills. While I didn't have my own guitar, the school kindly provided everything necessary equipment! I am very pleased with the training, many thanks to my teacher Andrey and the founder of the school Nikita Naimushin, I will be glad to study with you again!!!