Feminine Jazz singers
The vocalist of jazz Billie Holiday.
The blues sung by women had a beginning slightly more late than the masculine one, partly for the rural origin of the style, an ambience where the man was occupying first place. When the blues began to penetrate in the big cities, it began to change such a tendency, giving place to the first feminine figures of the age of the classic Blues, like Ma Rainey or Bessie Smith, or the least well-known Bertha “Chippie” Hill, Victoria Spivey, Sippie Wallace, Alberta Hunter or Big Mama Thornton. Ethel Waters, Ivy Anderson, Mildred Bailey and – on all of them – Billie Holiday they were already interpreting songs, songs and more commercial ballads of composers as Jerome Kern, George Gershwin or School Porter.
Although Holiday sang blues only occasionally, it was giving this air to almost all its interpretations, which on the other hand were characterized by a discreet, but sensitive, elegant and cultivated voice. Holiday was the first artist of jazz in which one was feeling the influence of the saxophonists, the first one that imposed the song as such in the repertoire of the musicians of jazz and also the first in using the microphone as if it was an instrument, working with him details of the voice never heard in other singers contemporaneos.
Ella Fitzgerald painted the portrait.
The figure of Billie Holiday marked a milestone in the history of the jazz, giving place to innumerable artists who kept on exploring its finds throughout the years. Another figure of enormous importance was Ella Fitzgerald, three younger than years Holiday, and considered by many critics like the singing progress of jazz of all the times (an honor that some of them attribute to Billie Holiday or to Sarah Vaughan). With a magnificent stamp and a wide vocal status, Fitzgerald was possessing a swing difficult to be equal, she was a brilliant interpreter of scat and it was possessing an almost perfect diction. The only defect that was assuming to him was that it was not turning out to be always capable of studying in depth the emotional meaning of the letters, but it did not darken the prestige and the admiration that Fitzgerald harvested until the end of its career, which took place with years, and its capacidadaes practically intactas.
The vocalist of jazz Sarah Vaughan.
The most important singers of the decades of and they arose from three important instrumental circles of that period: of the circle of Woody Herman Mary Ann McCall went out; from the band of Stan Kenton June Christy and Anita O’Day were coming; and of the circle bop of Charlie Parker and Dizzy Gillespie, Sarah Vaughan, Carmen McRae and Betty Carter. Sarah Vaughan was the first singer of jazz in possessing a vocal record similar to that of a singer of opera, she was one of the singers with major aptitude to express emotions across its voice and one of the best singers is considered of its generation. Carmen McRae is another important figure, so much as for its artistic personality as its decision to I perforated to execute the melodies. Betty Carter, younger than the previous ones, obtained a late recognition as one of the big figures of the bebop. Other singers of this generation are Chris Connor, Jackie Cain, Dacota Staton, Ernestine Anderson, Lorez Alexandria, Helen Merrill, Carol Sloane, Nancy Wilson, Sheila Jordan, Abbey Lincoln and Nina Simone, these two outstanding last ones for its struggle racial for the equality
Kay Davis and Adelaide Hall arose from the big band of Duke Ellington, who was using the voice in its band like a decoration species in conjunction with the clarinet. In the opposite side we have the singers who cultivated the scat – vocal improvisations without letter, a tradition initiated by Louis Armstrong – between that there are Anita O’Day, June Christy, Sarah Vaughan, Carmen McRae, Dacota Stanton, Jackie Cain, Annie Ross, Betty Roche, Betty Carter and, over all of them, Ella Fitzgerald. Alberta Hunter was coming from the pure tradition of the blues, as well as Ruth Brown, LaVern Baker, Etta Jones and, especially, Dinah Washington, nicknamed the “Queen of the blues”. Janis Joplin for his part, took this tradition to the world of the rock, obtaining a tremendous popularity, while Mahalia Jackson stood out like interpreter of black religious music, next to Dorothy Love Coates, Marion Williams, Clara Ward and Bessie Griffin. From the conjunction of this type of music with the rock there arose the soul, where there stood out Tina Turner, Diana Ross and influential Aretha Franklin, you represent all of them of big importance.
Between the singers who have emphasized in the world of the jazz merger it is necessary to indicate Phoebe Snow, Rickie Lee Jones, Bonnie Herman, Marlena Shaw, the Dutchwoman Ann Burton (Johanna Rafalowicz), Jean Carn (or Jean Carne), Lorraine Feather, Gayle Moran (wife of Chick Corea), Angela Bofill and, especially, Dee Dee Bridgewater. Judy Collins and Joni Mitchell, with folk roots, carried some incursions out in the world of the jazz, like the album Mingus of Joni Mitchell, in whose credits represent Small horse Pastorius, Don Alias or Michael Brecker, between other big figures. Flora Purim, the wife of Airto Moreira comes from Brazil, like Ellis Regina, Maria Bethania and Tania Maria. In the free jazz is necessary to indicate the contribution of the Americans Jeanne Lee, Lauren Newton and Jay Clayton; the Norwegian Karin Krog; the Britons Norma Winstone, Julie Tippets (more known by its name of single woman: Julie Driscoll) and Maggie Nichols; the French Tamia (Tamia Marilyn Hill; of single woman, Washington); Israeli Rimona Francis; and the grecoestadounidense Diamanda Galas.
Cassandra Wilson in the Ottawa Bluesfest.
All of them have extended the concept of using the voice as an instrument to introduce all kinds of sounds, laughs, crying and vocalizaciones in its interpretations, going so far as to use the different parts of the body – abdomen, skull, bosoms – as it arrange
Of between many artists who have arisen in the last decades in the scene of the contemporary jazz it is necessary to emphasize Natalie Cole, who after a few first steps in the world of r&b urban, went on to the world of the jazz with commercial touches; Cassandra Wilson, who is existed established like one of the main figures of the decade of with its distinctive voice and its taste for the experimentation; to Diane Shchuur, an important singer of jazz often in the periphery of the style; to Patti Austin, with a career more faced to the style jazz merger; to Rachelle Ferrell, excellent pianist, violinist and arreglista, provided also with an impressive vocal extension of six octaves and average; to Diana Krall, singer and pianist of big commercial success; to Eliane Elias, who initiated its career in the supergroup of jazz merger Steps Ahead and he has stood out also in the world of the classical music; or to Norah Jones, who has obtained a notable commercial success with its particular jazz merger, pop, blues and folk.