Re: What have you always wanted to say to a vocalist?


I can't imagine anyone arguing for Baker's voice over
> Smith's.

I can think of a number of musicians who prefer that attitude about singing
vs. the Smith attitude, which was my point.

There are some distinctions to be made regarding the styles
> though, aren't there? Who was doing glass-busting cool jazz when Baker
> was playing it? Who was singing anemia-on-the-nod in Bessie's time?

Good question. My take on it is that it would be fairly easy for Bessie
Smith to sit in with anyone at any time in jazz history and sing a blues or
a slow ballad (her version of After You've Gone, for example).
I'm not so sure about Chet Baker. How would that approach play in front of
Count Basie's band, even with an excellent microphone?


> Sonny didn't show us that because he couldn't play any other way. In my
> post I indicated clearly that one should be able to PICK the technique
> not be limited to whatever the heck happens when you open your mouth.
> That's something to consider when a classical player comes to jazz.

I agree and disagree with you here. Certainly there are people who make
their living impersonating other singers (I did a gig once with a fellow who
could sing like just about anyone--the climax of his routine was a duet that
became a foursome with Willie Nelson, Julio Igesias, Ray Charles and Frank
Sinatra all weighing in--and he really did sound like them). So a singer can
manipulate the sound they make in lots of ways, possibly more than any
instrument.
On the other hand, I don't know Sonny Rollins's background. I don't know how
he studied his instrument. I saw him in person once, and his command of the
instrument is, well, he's as good as any I ever saw, including Dexter
Gordon, Michael Brecker, James Moody, etc. If he's got that much command of
his horn, I think he can probably play any way he wants to. I can't imagine
spending the hours it would take to get that much information into my head
(the stories about his thematic improvisation are underselling his
ability--I was speechless after the show when I realized how well he could
take a single theme and play it all night over every vehicle). If I were
betting, I'd be betting on what he can do rather than on what he can't.
Seeing him live made that clear to me.

> Never heard a thing by Eckstine that didn't just torture my
> sensibilities. None of the rest have that "wobble" vibrato. Maybe the
> last few years of Turner, bless him. His vibrato got wider and wider.
> With the exception of Eckstine I'm crazy about the rest you mentioned
> and the styles they played in. Most of which are not what the average
> performer would find themselves doing these days. And all of these
> sure knew where a while note ended though, and *truly* understood a
> field of dynamics that we don't have to play in any more. There
> are many wonderful things to be said about them.

Wow. He makes me cry. Especially "That's for Me" on No Cover, No Minimum.
That Eckstine is a master singer and a huge influence on lots of other
singers is true beyond any doubt. The chapter on him in Will Friedwald's
book is very informative. Sarah Vaughan, among others, copied him. If you
compare her version of a ballad to his, you hear lots of similarities.
You might like Eckstine's early work more. His technique was fantastic
throughout his life. I saw him live too, so that might have some bearing on
my feeling about him.

I have an ongoing debate with a good musician and friend about Billie
Holiday. He can't stand her. His faves are Ella and Mel Torme, so Billie's
sound just does not work for him.

>
> I liked his timing, but sure didn't care for quality of his tone.

Chet was simply my pick for the opposite of Bessie Smith. I'm sure there are
others who have done 'perfect' cool vocal recordings. The first that comes
to mind is Tony Bennett singing Gentle Rain.

Ella's sound is probably the most versatile. It can work in just about any
context. She's not my fave, although I think she scats better than anyone
ever.
Early Sinatra (pre 1952) is amazing. Very pure sound, a lovely vibrato, etc.


> Thank you and have a nice day.

Same to you. I'm enjoying your remarks.


.

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