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"Baker, Chet."
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Developing Linear Vocabulary for Jazz Vocal Improvisation: Utilizing the Melodic Language of Chet Baker
In addition to being a great trumpeter, Chet Baker was also one of the finest scat singers in the history of jazz, and, like Louis Armstrong, his scat solos contain the same musical ideas he played on the trumpet. In this regard, Chet has become a model for aspiring jazz singers. Although Chet had considerable technical skill as an instrumentalist, he was largely an autodidact, relying on his ear rather than reading music to express the jazz language and navigate through complex chord progressions. Through rigorous study and emulation of the solos of Miles Davis, Harry James and Dizzy Gillespie, he developed a foundation and understanding of how to improvise. Though imitating recordings is similar in approach to the way that vocalists develop their fluency in jazz improvisation, Chet first developed a working knowledge of the technique of the trumpet and how jazz phrases are constructed to express his musical ideas. Without a solid foundation and an instrumental reference, a predominantly \"by-ear\" approach can result in cliché-driven and repetitive solos. It is therefore the purpose of this article to establish a methodology that assists vocalists in assimilating jazz vocabulary from recordings, using the piano as an aural and intellectual guide.
Journal Article
THE JANET LAWSON QUINTET /JANET LAWSON
[...]recently she also held adjunct professorships at New York University, the New School and City College, New York. The first six tunes are a direct reissue of an album recorded for Inner City Records (IC-1116). Bill O'Connell was born and raised in New York City and has lived in that area most of his life.
Journal Article