Vocalese


 Musica Jazz Vocalese

Nos primórdios do jazz era comum os instrumentistas inspirarem-se nos gospel singers. Quer as suas composições quer as improvisações eram baseadas na forma peculiar como aqueles cantores trabalhavam a voz em modulações, inflexões, vibratos e outros padrões vocais. As melodias eram literalmente vocalizações transpostas para um instrumento e o arranjo da banda mimava o jogo pergunta/resposta dos naipes de cantores.

Mas rapidamente o jazz desenvolveu características próprias e distanciou-se das suas origens onde os instrumentos eram meros acompanhantes das vozes. Ironicamente, assistiu-se então à total inversão de papeis: os cantores de jazz tentavam com a sua voz imitar o som dos vários instrumentos em sequências de sons onomatopaicos como bop-doo-wop, oobie-doobie ou doo-dee-dee-do. Louis Armstrong e o seu scat singing foi um dos melhores exemplos desse modo de cantar.

Porém nos anos 50' os cantores de jazz descobriram novas potencialidades que viriam a devolver à voz o papel preponderante que outrora possuía. Artistas como King Pleasure, Eddie Jefferson e, sobretudo, Jon Hendricks começaram a escrever letras para temas e até improvisações e a cantá-las com as bandas de jazz em pé de igualdade com os solistas instrumentais. Esta nova maneira de cantar denominou-se vocalese e atingiu enorme popularidade com a publicação do álbum "Sing a song of Basie" em 1957.

O álbum era interpretado pelo trio Lambert, Hendricks and Ross que substituía quase integralmente a big band de Count Basie. Toda a secção de metais bem como os solos estavam a cargo da fantástica perícia vocal dos três intérpretes que, graças a mais de 60 horas de estúdio e a técnicas de gravação em várias pistas, reproduziam toda a orquestra do mestre! Apenas a secção rítmica se mantinha (piano, baixo, guitarra e bateria)...

As letras, escritas pelo próprio Jon Hendricks, eram sensacionais. Por vezes escrevia apenas a parte correspondente aos solos (era particularmente difícil contar uma história em tão poucas palavras...); outras vezes escrevia a composição inteira, solos incluídos. Veja-se este exemplo da sua arte sobre o tema de J. J. Johnson "Rambo", interpretado pelos fabulosos Manhattan Transfer.

 Musica Jazz Vocalese

He's got that funny name An' ramblin' that's his game, that's it He's Rambo, talkin' bout me! We'll see

They call him Rambo 'cause he's travellin' He don't stay one place His life's a string he keeps unravellin' He don't leave no trace He's got a yen for changin' places He digs changin' scenes That way he stays in everybody's good graces

He's happy on the move He's mobile and free He wants no strings attached That's how it's gotta be, see!

He'll keep on ramblin' till the coda He don't stay one place Because he's just a ramblin' man His favorite hobby's hittin' the road He was a fella livin' solely by the ramblers only code

Some people're born to roam Fate gave 'em roamin' natures An' so they wander aroun' Leavin' people wondrin' when they'll touch the groun' Hither 'n yon, here 'n beyon' Wherever they never been before As soon as you're used t'their face They're off 'n runnin' again Gone to another new place

(J. J. Johnson solo - Janis Siegel) Peripatetic is the only word that I have ever heard that people could use that really describes him There's no other word could do that Only other word I know that comes The closest to it is "Gypsy" An' that don't really fit him at all "Cause he ain't tellin' fortunes 'N hates bein' dipsy Everywhere I go they call him Rambo 'Cause he won't stay long

(Tab Smith solo - Alan Paul) In my ramblin' I've met a lotta people here 'n there An' I find they're 'bout the same everywhere Each with his own little thing That he uses while he's tryin' to swing Maybe the look ain't the same But they play the same game An' there's quite a bit o' difference In their outlook, I know Still 'n yet, their story, lem'me tell you Is a story that you won't forget When I was young 'n very green I felt so stuck with m'present situation Later, when I got a little older that was when I discovered I could split 'N find myself another groove That was all I need I was on the move I packed my little sack 'n started ramblin' To this day I'm a rover who'll always be ramblin'

You git drug stayin' in one place Depressed an' feelin' low down Get new kicks movin' roun' Roamin' the country's educational for you 'N widens your point of view Tests y' mettle 'n cools y' mind out 'N that's true without a doubt Y know? I mean y'dig That's Rambo's gig Rambo is ready to ramble 'n itchin' t'split Oh yeah, he'll start packin' 'n quit it Forget it! 'Cause he's done with it That's Rambo! Travellin' light Stay too long he'll git uptight So his motto is "Keep movin'" You got it! That's his bit!

(Buck Clayton solo - Cheryl Bentyne) Nex' time he might leave an address 'Cause the little girl that he met Las' night Paid him so much attention That it got him a bit uptight

We might not have t'call him Rambo 'Cause he jes' might be settlin' down He's gone the way of all men Fat, skinny or tall men It happened to this Rover we know - Rambo


version 1/s/musica// @obvious, @obvioushp //seven