Short Answer
The trajectory of the jazz vocal ensemble is a study in the liberation of the human voice, transforming it from a mere melodic vehicle for lyrics into a sophisticated instrument capable of mirroring the complex textures of a horn section. While the Modern Jazz Quartet redefined the chamber-jazz aesthetic through instrumental precision, the parallel evolution of vocal ensembles sought a similar intellectual rigor, blending the accessibility of popular song with the daring harmonic explorations of bebop and cool jazz. This evolution represents a bridge between the intuitive swing of the early 20th century and the academic precision of contemporary jazz pedagogy.
Core Evolution
The foundation of the vocal jazz ensemble lies in the pursuit of “close-voiced harmony,” a technique popularized in the 1930s and 1940s by groups such as The Mills Brothers [1]. This era focused on tight, vertical alignments of notes that created a lush, blended sound. However, as jazz moved toward the complexity of the 1950s, ensembles began to incorporate more dissonant textures and extended chords. The “Double Six of Paris,” led by Ward Swingle, pushed these boundaries further by applying a rigorous, almost classical precision to jazz rhythms and harmonies [1].
A pivotal shift occurred with the emergence of vocalese, a style where lyrics are written for previously recorded instrumental solos. Lambert, Hendricks & Ross became the vanguard of this movement in the late 1950s. By treating the voice as a “horn without the horn,” particularly through the work of Jon Hendricks, they validated the voice as a legitimate improvisational tool within the jazz idiom [4]. This period also saw a significant socio-political dimension, as Lambert, Hendricks & Ross stood as one of the few interracial and mixed-gender groups of their time, mirroring the utopian ideals of an integrated American society amidst the Civil Rights movement [4].
By the 1960s and 70s, the influence of groups like The Four Freshmen and The Hi-Lo’s paved the way for the collegiate movement. Starting in the Pacific Northwest in 1967 with Hal Malcom’s group, Genesis, the vocal jazz ensemble transitioned from a purely professional pursuit into an academic discipline [1]. This institutionalization allowed for the study of advanced arranging and the preservation of the genre’s technical demands.
Sonic Signature
The sound of a jazz vocal ensemble is distinguished by its departure from traditional choral blending in favor of an instrumental approach to phrasing and harmony. Key technical characteristics include:
- Close-Voiced Harmony: The stacking of chord tones in the smallest possible interval, creating a dense, concentrated sonic cluster [1].
- Vocalese: The art of lyricizing instrumental solos, requiring extreme rhythmic precision and an understanding of horn-like articulation [4].
- Extended Harmonies: The use of 9ths, 11ths, and 13ths to create the “modern” jazz sound, moving beyond simple triads.
- Syncopated Polyrhythms: The application of swing feel and off-beat accents that mimic the phrasing of a jazz drummer or bassist.
- Instrumental Mimicry: The use of non-lyrical syllables or “scatting” to emulate the timbre and agility of brass and reed instruments.
Jazz Style: Definition and Origins
Vocal Jazz is a challenging genre to define, as it encompasses both the structural organization of the ensemble and the specific performance practices used to execute the music [2]. Unlike traditional choral music, vocal jazz prioritizes the individual’s ability to swing and the ensemble’s ability to function as a cohesive horn section.
Comparison of Vocal Jazz Styles
| Feature | Close-Harmony (Early) | Vocalese (Mid-Century) | Contemporary Collegiate/Pro |
|---|---|---|---|
| Primary Goal | Blended sweetness/harmony | Instrumental mimicry/virtuosity | Complex arranging/academic rigor |
| Harmonic Language | Tertian (3rds and 5ths) | Bebop-influenced extensions | Modal and avant-garde explorations |
| Rhythmic Focus | Steady swing | High-speed syncopation | Polyrhythmic and fluid |
Curated Listening Guide
| Album/Track | Artist | Year | Why it’s Essential | Key Listening Note |
|---|---|---|---|---|
| Various Recordings | The Mills Brothers | 1930s/40s | Pioneered close-voiced harmony [1]. | Listen for the tight vertical alignment of voices. |
| Various Recordings | Lambert, Hendricks & Ross | Late 1950s | The definitive example of vocalese [4]. | Notice how the voices mimic horn articulations. |
| Various Recordings | The Real Group / Take Six | Modern Era | Modern evolution of jazz harmony [1]. | Listen for the use of extended upper-structure chords. |
Legacy and Influence
The evolution of the jazz vocal ensemble has left an indelible mark on both popular music and music education. The transition from the professional stage to the university classroom ensured that the technical skills of jazz singing—such as sight-reading complex charts and mastering improvisational phrasing—were codified and passed down [1]. This academic shift allowed for a synthesis of styles, where contemporary groups now blend the traditional Great American Songbook with modern global influences and avant-garde textures [3]. Today, the influence of these ensembles can be heard in everything from modern a cappella to the sophisticated arrangements of contemporary R&B, proving that the voice remains the most versatile instrument in the jazz lexicon.
FAQ
What is the difference between scatting and vocalese?
Scatting is spontaneous improvisation using nonsense syllables, whereas vocalese involves writing specific lyrics to fit a pre-existing instrumental solo.
Who were the pioneers of the collegiate vocal jazz movement?
The movement began in 1967 in the Pacific Northwest with Hal Malcom's group, Genesis, and arranger Dave Barduhn.
Why was Lambert, Hendricks & Ross significant beyond their music?
They were one of the only interracial and mixed-gender vocal jazz groups in the US during the late 1950s, reflecting the socio-political push for integration.
Leave a Reply