The music should generate plenty of enthusiasm for scatting — and sketching.
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But everything else is disassociating, scatting, unknowable, slower than slow, time unhooked.
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They were singing ... [scatting]...stuff like that, that's what I wanted to be like.
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"BEDOOBE DUWOP BABOWWW" Teigen captioned the video in imitation of her husband's unparalleled scatting skills.
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But how come people can honor scatting and motherfuckers saying "shoo-wop doo-wop" for hours?
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The song is called "A Woman's Work," but the lyrics hardly matter; Ms. Kritzer's scatting brings the house down.
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She told us, almost wistfully, that she would eat a mix of "coffee and black cherries" prior to scatting sessions.
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Though they don't represent Ms. Fitzgerald, they certainly meet her, sometimes dancing slow when she's scatting fast, sometimes tumbling, sliding, embellishing.
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Even so, it's hard not to squirm through the number with Prima's scatting ape because of the troubling signifiers it throws out.
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The brothers developed their process of scatting and lyrical trade-offs, occasionally using television commercials taglines as dummy lyrics to hone their rhythm.
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The tenor Lawrence Brownlee, a bel-canto star, sang with classy polish as Parker, showing how close scatting can be to Rossinian coloratura.
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But on "Lovely Day," just before the end, Hathaway stretches things out with a svelte scatting solo, quietly dazzling us with her powers.
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It starts on a cross-stepping pattern from the band and hits a high stride toward the end, on Ms. Thurman's scatting solo.
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Whether moving in a frictionless drift or scatting through a percussive passage, Parlato's voice is as commanding and distinctive as any in contemporary jazz.
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It's 32 minutes of skull-crushing beats, full of both familiar samples (like a tribute to The Prodigy and some Korn scatting) and totally alien sounds.
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Mr. Mahogany begins one track of that album, Charlie Parker's "Confirmation," in a sizzling tête-à-tête with Mr. Nash, scatting at him in percussive bursts.
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"Death of Melody" might describe her acolytes, but it's surely not high-flying Lana, always on the verge of scatting, our great Norah Jones with cusses.
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But though this piece often sounded disjointed, its elements — jazz scatting and rhythmic Sufi chanting, for instance — always seemed on the verge of connecting in fascinating ways.
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Instead, it rides on the edge of hokey (the snapping and scatting) and settles for cute (a bit of Esther Williams-style water ballet on dry ground).
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In the original, this is King Louie: Voiced by trumpeter Louis Prima, he's a funny, goofy, scat-scatting cat who gives the movie its big show-stopping musical number.
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It was at that moment that 20163, Young Thug's label, dropped "Pacifier," a scatting, scattershot song meant to become Thug's summer hit and to tease his debut album, Hy!
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Beneath Freddie Mercury's airy falsetto and soaring vocals, under the charming and now-infamous bass line, the scatting, and the gentle piano, "Under Pressure" is one heartbreaker of a song.
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Yeah, Zombie's voice acting is a little straightforward and deadpan here, but then again, one doubts Marvel wanted The Lizard to start scatting about vampire pussy and hot rod murder.
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The same phlegmy, rankled purr that she first used to imitate Louis Armstrong's scatting has become a flexible trademark — a marker of thirst, aggravation and rabid pride that travels well.
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Scaramouche's silhouette mimics Zoltar's, but his twists and turns—telekinetic scatting, an exploding knife, and the ability to walk around without a body—are purely the product of Tartakovsky's gut.
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Across the table from each other in a jail's visiting room, the brothers are scatting, their vocal jam making sweet jazz in a cold, hard space where instruments are not allowed.
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The album features old-timers like the violinist Joe Venuti, and Mr. Redbone fits right in, scatting and mumbling his way through Tin Pan Alley fare like "My Walking Stick," by Irving Berlin.
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Most of what we covered was tame and unspecific, though we did get into a spirited discussion about the difference between toilet training, scatting, and brown showers—all forms of defecating in someone's mouth.
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But what sold me is how she lets her voice go, almost like scatting or into an untrained vocal wail that's so emotional that I can feel it all the way down to my toes.
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Paak entered full beast mode: scatting, gyrating, prowling around the stage, ripping off his jacket, sweating, and unleashing and flipping between raw odes to over-consumption to take me to church falsetto's (no Hozier, never Hozier).
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When I went in, there were a bunch of sketches of 'Ye and Paul McCartney just like jamming together, Paul playing just random, Springsteen-y chords, and Kanye's just kind of freestyling over it, scatting little melodic snippets.
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There are many things cringey about Sex and the City — a certain bandanna habit of Carrie's comes to mind — but none of them are more cringey than Kim Cattrall scatting poetry over her the sound of an upright bass.
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According to the Philadelphia Inquirer, Cosby was added last-minute to perform at the LaRose Jazz Club, where he kicked off the set by sitting in with the band and scatting a little bit before hopping on the drums.
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Her voice is always an interesting thing, often swinging and scatting through swooping melodies that are contorted enough that most other singers wouldn't attempt them (there's a reason both Rolling Stone has counted her among the best vocalists ever).
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Her acrobatic voice was a welcome surprise among radio-friendly pop and she used it well, from effortlessly scatting with Tony Bennett on their jazz record, "Cheek to Cheek" to unleashing a primal wail in "Shallow," the anthem that scored her an Oscar.
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Keyboard and bass might help establish a song ("All the Things You Are" to start), yet it's the dancers who carry it, snapping their fingers and scatting the melody in time with their taps, their mouths clarifying what their feet are doing: singing the song.
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But as traditional bluesmen go, Kumar writes unusually inventive songs, inverting the blues scale into an exuberant major key or a creepier-sounding scale that must be Indian, bursting into glossolalia just like scatting, skipping into tempo shifts that sound totally natural, and generally finding a way to escape convention.
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As the songs unfolded, Ms. Arocena deployed a kaleidoscope of voices: low and breathy, teasing and sultry, clear and euphoric, articulately scatting, even at one point using her hand like a mute to create an abstract wah-wah effect, batting rhythms back and forth with Raul Herrera Martínez on drums.
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As a goat-voiced mewler, Greep could have followed the tradition of dorky singers feeling intimidated by energetic music; instead, as if trying to prove himself worthy of all that guitar noise, he scrunches up his mouth, bleats, trills words, makes tentative gestures toward scatting, and generally contorts himself into elaborate knots.
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I literally went in the studio and started scatting for 40 minutes over a Thundercat basslineKendrick: skibbitywopbipbop niggas shotKendrick: See him drop see the copsKendrick: See the peace that leave my block and see my seat up at the the topKendrick: ShimmanimmadottawopKendrick: Shit like thatDrake: That sounds fucking ludicrousKendrick: That sounds like some shit you won't doKendrick: Maybe if you spent time with actual musicians from the "six" instead of getting pillheads as ghostwriters, you'd be good.
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There are jazz influences evident in several tracks including Sebastian scatting in "Oh Oh".
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The sides were "Honeysuckle Rose" and "I'm a Dreamer, Aren't We All." One unusual trait of Honeysuckle Rose was Paul playing the guitar and scatting in unison in a manner similar to George Benson at least a couple decades later.Bassist Slam Stewart had already done something similar with scatting with bowed bass fiddle about a decade earlier.
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It starts with a waltz-like, triple meter cadence, with Spinetta singing the lyric "Superstition" (Spanish: "Superstición") and a kind of scatting.
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Growing up, she learned her scatting and call-and-response techniques from her father, who would scat and then make her repeat the sounds back to him.
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Humor is another important element of scat singing. Bandleader Cab Calloway exemplified the use of humorous scatting. Other examples of humorous scatting include Slim Gaillard, Leo Watson, and Bam Brown's 1945 song "Avocado Seed Soup Symphony," in which the singers scat variations on the word "avocado" for much of the recording. In addition to such nonsensical uses of language, humor is communicated in scat singing through the use of musical quotation.
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Her Studio Uno album topped the Italian chart that year. Her recordings of 1965 included the scatting performance of "Spirale Waltz", the theme song for the film The 10th Victim.
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The comparison of the scatting styles of Ella Fitzgerald and Sarah Vaughan reveals that Fitzgerald's improvisation mimics the sounds of swing-era big bands with which she performed, while Vaughan's mimics that of her accompanying bop-era small combos..
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Although Louis Armstrong's 1926 recording of "Heebie Jeebies" is often cited as the first song to employ scatting, there are many earlier examples. One early master of ragtime scat singing was Gene Greene who recorded scat choruses in his song "King of the Bungaloos" and several others between 1911 and 1917. Entertainer Al Jolson scatted through a few bars in the middle of his 1911 recording of "That Haunting Melody." Gene Green's 1917 "From Here to Shanghai," which featured faux-Chinese scatting, and Gene Rodemich's 1924 "Scissor Grinder Joe" and "Some of These Days" also pre-date Armstrong.
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The song of the title comes through, our little heroine swaying and scatting her way through it. Merrily she rolls along, skipping and sliding past some untidily shelved volumes, out of one of which, Robinson Crusoe, emerges some accompaniment, likely Robinson himself and Friday. Meanwhile, Rip Van Winkle's book snores away; the cover is pushed away by Rip, apparently awakened by and much enjoying the music. Alice trots along, coming across The Three Musketeers, whose cover she pries open: "All for one and one for all," cry Athos, Porthos, and Aramis, raising their rapiers as they segue into their own scatting- routine.
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This was her debut album for Warner Bros. Records. The 11 tracks are from contemporary musical theater. The arrangements were by Larry Goldings and Gil Goldstein, separately. She uses "several vocal techniques to bring each song to life, including scatting, elongated phrasing, swing, and balladeering".
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Betty Boop is queen of the Masquerade Ball. She gets annoyed by the king of the ball, who is coming on too strong. Bimbo uses Italian scatting to confuse the king in order to spend time with Betty. However, the King catches up on him.
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" Although creativity must be shared between Ellington and Hall as he knew the style of performance he wanted, Hall was the one who was able to produce the sound. A year later, in October 1928, Ellington repeated the experiment in one of his versions of "The Mooche," with Getrude "Baby" Cox singing scat after a muted similar trombone solo by Joe "Tricky Sam" Nanton. During the Great Depression, bands such as The Boswell Sisters regularly employed scatting on their records, including the high complexity of scatting at the same time, in harmony. An example is their version of "It Don't Mean a Thing (If It Ain't Got That Swing).
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The song is essentially an instrumental piece and a vehicle for scatting and improvisational vocals, since, as the chorus (the song's only actual lyric) states, "ain't no words to this song/you just dance and hum along". All three versions of the song were produced by Whitfield.
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An instrumental version of the tune with an overdubbed flute part and additional percussion instruments, titled "Jungle Jazz", appeared on the album Spirit of the Boogie. The song is noted for the Tarzan yell heard at the song's end and the grunting, panting and scatting heard throughout.
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Guests include Angélique Kidjo (a native of Benin), Richard Bona from Cameroon, and American musicians Marcus Gilmore and Esperanza Spalding. Loueke sings in Xhosa-inspired aspects, such as clicks (e.g., Nonvignon from Karibu). He doesn't speak Xhosa, and the singing is akin to scatting, having no linguistic meaning.
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Melky will even do some "scatting" on one of the songs. "I compare it to yodeling," she says. The duo says its album doesn't fit any one format, and it will include ballads with a '50s and '60s feel. Melky says she and her siblings come from a musical background.
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Laura Anne Karpman (born March 1, 1959) is an American composer, whose work has included music for film, television, video games, theater, and the concert hall. She has won four Emmy Awards for her work. Karpman was trained at The Juilliard School, where she played jazz, and honed her skills scatting in bars.
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The title card is a curtain; it parts, revealing an asbestos sheath, which paradoxically burns up to reveal the stage. There sits Bosko at a piano, playing, scatting, occasionally snapping his fingers; then enters Honey. In time with the music, they greet each other. Bosko leaps from his stool and the couple dance.
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Emile composes and performs in the genres of hip hop, reggae, R&B; and electro-pop. His vocal performance and recording style includes singing, rapping, freestyling and scatting in English, French and Jamaican Patois. Emile is concerned largely with creating contemporary popular hip hop and reggae fused with soul music that addresses social, spiritual and moral issues.
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Detroit, where Carter grew up, was a hotbed of jazz growth. After signing with a talent agent after her win at amateur night, Carter had opportunities to perform with famous jazz artists such as Dizzy Gillespie, who visited Detroit for an extensive amount of time. Gillespie is often considered responsible for her strong passion for scatting.
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Rachelle Ferrell (born May 21, 1964) is an American vocalist and musician. Although she has had some success in the mainstream R&B;, pop, gospel and classical music scenes, she is noted for her talents as a contemporary jazz singer. In contemporary jazz she is noted for her delivery, control, range, improvisational vocal percussion, scatting ability and access to the whistle register.
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There are two versions of the song. The single edit version fades out earlier, in order to avoid repetition, due to its length, following the repeated lyric line: "Oh with you by my side". The longer version goes on, finishing up the verse, and following the repeated guitar riff, repeats the sung introduction of the scatting, before the song fades out.
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In earlier recordings, it is apparent that her scatting had similarities to the qualities of Gillespie's.Bauer, Open the Door, p. 33. At the time of Gillespie's visit, Charlie Parker was receiving treatment in a psychiatric hospital, delaying her encounter with him. However, Carter eventually performed with Parker, as well as with his band consisting of Tommy Potter, Max Roach, and Miles Davis.
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The staff of Highsnobiety pointed out West "angrily scatting to the beat" on "Feel the Love". "4th Dimension" and "Cudi Montage" both include posthumous samples of music, with the songs sampling the tracks "What Will Santa Claus Say (When He Finds Everybody Swingin')" and "Burn the Rain" by American singers Louis Prima and Kurt Cobain, respectively. Prima received credit as a featured artist on the song.
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He pulls out all the stops, singing, dancing, scatting (a la Danny Kaye), comedy routines (including his impression of Lionel Barrymore), and magic acts. Upon finishing each act, he looks around to see the unimpressed, stern-faced doctors in exactly the same frame position each time ("What a tough audience! It ain't like St. Joe!"). The scientist attempts to retrieve Bugs, but is pushed away.
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Tangled Tales is an album by Dan Hicks, released on March 24, 2009, on Surf Dog Records. It was recorded along with Hicks' longtime band, billed as "His Hot Licks". It consists of two new songs, as well as reworkings of Hicks' older originals and several covers. The title track consists entirely of scatting, and was suggested by the owner of Surf Dog Records.
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She has been recognized further for the versatility of her voice and for the effective use of her falsetto. Reinhart has been lauded for her scatting techniques reminiscent of Fitzgerald, as well as for her yodeling. Her frequent call and response sessions during her live performances have also received particular praise. Reinhart's early vocal training came from her mother, and she has never been trained professionally.
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"Uptown Funk" received positive reviews from most music critics. Nick Murray of Rolling Stone gave the song a rating of four out of five stars, praising the "George Kranz scatting and Nile Rodgers guitar riff." He noted that Mars, Ronson and The Hooligans "channel the days when brags weren't humble and disco wasn't retro." Spin Brennan Carley noticed the resemblance between Mars' sing-rapping style and Nelly's vocals.
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Jazz vocalists scatting on "How High the Moon" (notably Ella Fitzgerald) often quote the melody of "Ornithology" (and vice versa). Coleman Hawkins used the first two bars of the melody in a Cozy Cole recording session dating back to November 14, 1944, in a tune called "Look Here". Notable recordings include Bud Powell's version and the Gerry Mulligan-Chet Baker 1957 version. Babs Gonzales wrote vocalese lyrics for the tune.
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"Stan Kenton: This is an Orchestra!" University of North Texas Press. pp. 127 Ironically, the two newlyweds would buy Wallichs' home at the time of their marriage to raise a family. Richards' appearance on any of Kenton's LP production releases for Capitol Records started with Kenton with Voices (1957) where she is a featured soloist on three tracks to include vocalese scatting on Gene Roland's Opus in Chartreuse.
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Buckcherry has also played "Midnight Rider" before live, Michael McDonald does a rendition of "Midnight Rider", and it has also appeared on a Hank Williams, Jr. album. Bob Seger covered the song on his long out of print Back in '72 album. An edited and remastered version of his version, which eliminates the breakdown and Seger's scatting towards the end of the track, appears on his 2009 Early Seger Vol. 1 album.
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He would put a word or two on the front of a line and rest were all vowels. He was amazing at it, and most folks never could tell the difference. He would come up with his melody line by Jib-A-Jabbing. I think he had a harder time finding lyrics that fit his Jabbing, due to the timing and the percussive hooks he would come up with while scatting along.
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Sarah Vaughan and the Jimmy Rowles Quintet (1974) was more experimental, containing free improvisation and some unconventional scatting. Send in the Clowns was another attempt to increase sales by breaking into the pop music market. Vaughan disliked the songs and hated the album cover depicting a clown with an afro. She filed a lawsuit against Shad in 1975 on the belief that the cover was inconsistent with the formal, sophisticated image she projected on stage.
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As the number ends, Honey intones, "Gee, Bosko, you're swell." Our hero steps over and, bathed in the spotlight, his sweetheart having departed for the moment, sings an ode to Honey and their mutual love. As this yields to further dancing and scatting, Honey re-enters and the two complete the number to an unseen audience's applause. They run off stage, hand-in-hand, and Bosko stumbles cheerfully back on an instant later.
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Conn's songwriting combines fingerpicking acoustic playing with jazz-inspired chord progressions and hip-hop rhythms. His vocal delivery encompasses singing, rapping and scatting. His music varies between a synth-laden modern sound and a more lo-fi production. He takes inspiration from a wide range of influences, primarily in soul and jazz music, and has expressed admiration for artists such as Stevie Wonder, Badly Drawn Boy, OutKast, Nat King Cole and The Yeah Yeah Yeahs.
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Additionally, jazz itself was transformed from a collectively improvised folk music to a soloist's serious art form largely through his influence. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him. Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddins and others.
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Nancy King (born June 15, 1940) is a jazz singer from Portland, Oregon. Known for her masterful scatting and elastic range, King has performed in worldwide tours and recordings, as well as collaborations with such artists as Jon Hendricks, Vince Guaraldi, Ralph Towner, Dave Friesen and others. King started gigging in 1959 with fellow University of Oregon music students. After moving to San Francisco in 1960, her accomplished Scat singing landed her many gigs with various bebop artists.
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The iris opens to a night-time scene, perhaps in the Ozarks or Appalachia, and the music of "She'll Be Coming 'Round the Mountain." Goopy Geer's nameless sweetheart comes out of a cabin scatting the music. Goopy himself stands by a tree unknowingly accompanying her on his harmonica before they meet. A songbird and her children trill a tune, "Moonlight for Two," which the happy couple pick up together, dancing about as the birds continue their accompaniment.
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Huffing, Bosko-Durante dons a rumpled fedora (apparently stored within the piano) and complains, "Am I mortified? Am I mortified?!" as he tosses the hat to the floor. Audience and Honey applaud. Bosko then begins scatting and leaping about madly and playing trumpet; Honey dances passionately, the lights around her flashing; Bosko bangs on the various percussive instruments lining the stage and repeats his failed tap dance again, falling this time into a large drum off of stage left.
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In West African music, it is typical to convert drum rhythms into vocal melodies; common rhythmic patterns are assigned specific syllabic translations. However, this theory fails to account for the existence—even in the earliest recorded examples of scatting—of free improvisation by the vocalist. It is therefore more likely that scat singing evolved independently in the United States. Others have proposed that scat singing arose from jazz musicians' practice of formulating riffs vocally before performing them instrumentally.
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Vaughan's final album was Brazilian Romance, produced by Sérgio Mendes with songs by Milton Nascimento and Dori Caymmi. It was recorded primarily in the early part of 1987 in New York and Detroit. In 1988, she contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block included Vaughan in a brief scatting duet with Ella Fitzgerald.
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Major chart success was not far away and in 1965, Stewart recorded two self-written songs, "I Do Love You" (#6 R&B;, #26 Pop), which featured his brother Johnny Stewart as one of the backing vocalists with his partner James English, and "Sitting in the Park" (#4 R&B;, #24 Pop). His idiosyncratic improvisational technique of doubling-up, scatting his words and trilling his lips made his style unique in the 1960s. In 1966, Stewart recorded the LP Unbelievable.
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Critics received the song very warmly; Popmatters' reviewer Spencer Tricker called "Jungle Drum" the "catchiest tune" on the album (alongside "Big Jumps"), "every bit as good as the singles from Fisherman's Woman". He also praised the song for boasting "an irresistible chorus that features some totally unexpected scatting". Matthew Allard from ARTISTdirect stated the song "should be an iPhone ad". Clickmusic reviewer Francis Jolley called the song "a sprightly, fun little gem, reminiscent of Nancy Sinatra in her heyday" and "infectious Scandinavian pop".
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"Corrosion in the Pink Room" is a song written by Waters, Gilmour, Wright, and Mason. It is an instrumental piece that was played at their live shows during the early 1970s. It is a very avant-garde piece, with eerie piano playing by Wright and scatting by Waters, reminiscent of the sounds on "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict". Halfway through, the song transitions to a jazzy blues jam, similar to "Funky Dung".
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He was the only novice and he survived creditably and then performed on an off including a gig with the Sri Lankan bassist Hussain Jiffry. Having lived in the United States since 1980, Rukshan Perera decided to return to the land of his birth. Rukshan Perera has recorded two CD albums and performed 'live' concerts in Sri Lanka and around the world including the United States of America. He has also introduced 'harmony whistle' and 'harmony scatting,' not seen anywhere else.
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He has since released music under different projects and in a variety of different styles such as crooning, falsetto, death growls, rapping, chanting, mouth music, beatboxing and scatting, among others; leading critic Greg Prato call Patton "one of the most versatile and talented singers in rock music". On April 1, 1999, Patton co-founded the independent record label Ipecac Recordings with Greg Werckman. He has released most of his subsequent output on that label. His directorial debut was in 1993, with an abstract film titled Video Macumba.
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Sledge was born on March 28, 1994 where she was raised on the South Side of the Chicago, Illinois. Throughout her childhood, Sledge moved to a number of locations throughout the city of Chicago. To escape issues that a number of teens face (blended families, constantly having new friends, and problems at home) Sledge looked into the fine arts, which helped her deal with some of the realities of her life. She explored scatting, poetry writing, and drifted towards singing at the age of 10.
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In a 2013 contribution to OC Weekly, Marco Torres added that "Baila Esta Cumbia" is a "fun song" and noted its "lively" addictive nature. John Storm Roberts wrote in his book The Latin Tinge, that the recording is an "up-tempo romantic piece" for his review of Selena's live album, Live (1993). Roberts added that with "Como la Flor", the two "mixes pop vocalism, some quite free scatting, and a classic banda keyboard sound." Federico Martinez of the San Antonio La Prensa called the recording "upbeat".
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From December 14 to 17, 1976, Gaye performed the lead vocal track, instrumentation (which included Gaye, Fernando Harkness, Johnny McGhee, Frankie Beverly and Bugsy Wilcox and Funk Brother member Jack Ashford) and background vocals. In the song, Gaye added background vocals from his brother and his girlfriend. During the second half of the song, the song introduces vocal layered doo-wop styled scatting from Gaye and produced a funk-influenced vamp. Fernando Harkness performs a tenor saxophone solo in the second half of the song.
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Pusha T's verse also features him assuring that "the details is ironed out." West contributes gun noises to the song, which last for nearly two minutes. The noises made by him follow the long tradition of using sound instead of words in popular music that the likes of Lady Gaga, Led Zeppelin, Ray Charles and Louis Armstrong have taken part in. West's performance features scatting from him and was described as reminiscent of his nonsensical performance on "Lift Yourself", while some writers compared West's vocals to the music of fictional rapper Big Shaq.
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It was also noted to have an earworm hook, early 1960s soul-pop and groove influences, a scatting tempo and shimmying melody. Trainor delivers a hint of Caribbean reggae in addition to a variety of background vocal and rapping techniques. Wordless vocal ad-libs in the song's outro feature Trainor pitching down an echoing "bass, bass, bass" at the end of the chorus mark. The vocals of "All About That Bass" have been compared to the harmonies of 1960s girl groups and vintage 1950s singers Betty Everett, Doris Day, Eydie Gormé and Rosemary Clooney.
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Sly Stone, Rose Stone and Cynthia Robinson sing lead and Larry Graham introduces the slap-pop style of bass he expanded on "Thank You (Falettinme Be Mice Elf Agin)". "Sex Machine" is a thirteen-minute jam that features Sly scatting through amplified distortion and allows each band member a solo. Gregg Errico's drum solo closes the song and the band members are heard bursting into laughter during the final seconds. Stand! concludes with "You Can Make It If You Try", sung by Sly Stone, Freddie Stone, and Larry Graham.
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" "I Wanna" debuted in the Broadway musical Good Boy and became famous overnight. Kane released "I Wanna" on record September 20, 1928; she also used a variety of scat sounds in her 1928 Victor song releases "That's My Weakness Now" and "Get Out and Get Under the Moon". But while Kane often claimed to have created this type of scatting herself, it was later proven in court that she had not. An early sound film was discovered which featured Baby Esther performing in this style, demonstrably earlier than "I Wanna Be Loved By You.
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" Through this wordlessness, commentators have written, scat singing can describe matters beyond words. Music critic Will Friedwald has written that Louis Armstrong's scatting, for example, "has tapped into his own core of emotion," releasing emotions "so deep, so real" that they are unspeakable; his words "bypass our ears and our brains and go directly for our hearts and souls." Scat singing has never been universally accepted, even by jazz enthusiasts. Writer and critic Leonard Feather offers an extreme view; he once said that "scat singing—with only a couple exceptions—should be banned.
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WurlD sang about needing real love, not someone who will simply sell him dreams. In the song, he described a bitter-sweet romance, one that he admits fills him with loathing, but he can't help but continue to pine for it. The track is a bluesy folk love song and over a mix of bass guitar riffs, sweeping organ harmonies and scatting drum riffs. He sang “I Need Love/ That Bitter Sweet Killer Romantic Though I Hate To Love You But I’d Never Find A Greater Kind of Love Baby”.
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Musiq was born in Philadelphia, Pennsylvania and raised in a strict Muslim household. During his teenage years he built a reputation for being musically gifted, beat boxing for MCs free styling on the open mic circuit, scatting at jazz clubs or just performing an a cappella for strangers on the streets, which is where he got the name "Musiq" and later added "Soulchild". He cites as his inspiration such icons as Marvin Gaye, Stevie Wonder, and Donny Hathaway as his most influential musical icons.[ Billboard: Musiq Soulchild] He dropped out of high school to pursue a career in music.
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Though scat singing is improvised, the melodic lines are often variations on scale and arpeggio fragments, stock patterns and riffs, as is the case with instrumental improvisers. As well, scatting usually incorporates musical structure. All of Ella Fitzgerald's scat performances of "How High the Moon," for instance, use the same tempo, begin with a chorus of a straight reading of the lyric, move to a "specialty chorus" introducing the scat chorus, and then the scat itself. Will Friedwald has compared Ella Fitzgerald to Chuck Jones directing his Roadrunner cartoon—each uses predetermined formulas in innovative ways.
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The song was also notable for its use of major seventh and minor seventh chords, which was a fairly uncommon use at the time. Gaye recorded the song's b-side, "God Is Love", on the same day. When Gordy heard the song after Gaye presented the song to him in California, he turned down Gaye's request to release it, telling Gaye he felt it was "the worst thing I ever heard in my life". When Harry Balk requested the song to be released, Gordy told him the song featured "that Dizzy Gillespie stuff in the middle, that scatting, it's old".
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Chic was born Antonio Xavier Vaz in Aldona in 1916. He learned music at his local parochial school and, despite the wishes of his mother who wanted him to earn a "respectable" living as a mechanic, he followed his dreams of a life playing music. Influenced by Louis Armstrong, Chic styled himself after his great jazz hero--Chocolate's trumpet playing and "scatting" technique were a tribute to Armstrong. His stage presence has been recognized as dramatic, with accounts reporting that the musician would fall on one knee, while raising his instrument to the stars, during the band's crescendo.
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Young Thug appeared on West's 2016 album The Life of Pablo, and West tweeted that he would release further collaborations with Young Thug on Tidal. In July 2015, 300 Entertainment released a promotional single, "Pacifier", in support of Young Thug's debut album HiTunes (stylized as Hy!£UN35). The song features production from Mike Will Made-It, and was noted by critics for its experimentation with more extreme vocal scatting. On February 4, 2016, Young Thug released a mixtape titled I'm Up. On March 26, 2016, he released the final installment of the Slime Season series in Slime Season 3, declaring the mixtape the end of a phase marked by leaked material.
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Musically, Title comprises throwback style sound, 1950s doo wop-inspired songs that straddle the line between modern R&B; and melodic pop. The EP's opening track, "All About That Bass" is a bubblegum pop, doo-wop song which serves as a throwback to 1950s and 1960s music, and contains elements from a complex mix of several genres; R&B;, hip hop, tropical, country and rock and roll. Sonically, "All About That Bass" comprises an earworm hook, early 1960s soul-pop groove, scatting tempo and shimmying melody. Lyrically, "All About That Bass" serves as a callout to embrace one's appearance and promote a positive body image.
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In a contemporary review for Rolling Stone, Rob Hoerburger regarded Rapture as a relatively "modest" album compared to more histrionic female singers, while praising the symbiotic relationship Baker shared with her band. Occasionally, he believed, the groove-based music lacked variety, and the singer drifted into "some superfluous scatting and pseudo-jazz harmony", but Hoerburger ultimately deemed her "an acquired but enduring taste". At the end of 1986, Rapture was ranked number 2 among the "Albums of the Year" by NME. It was voted the 23rd best album of the year in the Pazz & Jop, an annual poll of American critics, published by The Village Voice.
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The album featured a number of tunes from the songbook of Billie Holiday, a close friend of Lester Young. On the track "No Eyes Blues" Alexandria effortlessly scats with the ease of Ella Fitzgerald, as Serrano and Touff jump in to accent her rich melodic line. She recorded two more albums for King Records in 1959, releasing the LPs The Band Swings – Lorez Sings and Singing Songs That Everyone Knows back to back. On The Band Swings, Alexandria played with a full orchestra for the first time, and vocally engages the listener by swinging, scatting, and paraphrasing, reminiscent to some of the timbre achieved by Sarah Vaughan and Carmen McRae.
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By the 1930s, de la Cruz would be most identified with the song Balut, a fast-paced jazzy tune written by Jerry Brandy. Her take on the song, which afforded her to showcase her scatting ability, has been described as impish and rustic, rounded out by her low, playfully dragging key. A slightly bawdy take, called "Balut", named for a notorious Filipino culinary delicacy of the same name, remains popular to date, with versions performed by the New Minstrels, Pilita Corrales, and Lani Misalucha. She also occasionally acted in films, most prominently in Inspirasyon (1953), for which she received the FAMAS Best Supporting Actress Award in 1953.
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Avery Sharpe (born August 23, 1954) is an American jazz double-bassist, electric bassist, composer, educator and founder of the artist owned record label, JKNM Records, back in 1993. Sharpe has a distinguished percussive and rhythmic approach on double bass and is something to see in live performances. He incorporates the Hum-a-long(vocal scatting with the bowed bass) bass technique, popularized by Leroy “Slam” Stewart and Major “Mule” Holly, into his playing. Sharpe was first bought to prominence by tenor saxophonist Archie Shepp and drummer Art Blakey, but is best known for his longtime association with Piano Jazz Legend McCoy Tyner from 1980-2003.
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Since the seamstress' strike was organized by local labor leader John Vidal, and patronized by local assemblywoman María Luisa Arcelay, they are mentioned in the song. The seamstresses are reportedly calling each other as to raise mutual concern about the poor pay they're getting. Near the end, Don Mon breaks into what his son later called "trabalenguas" (tongue twisters), which in fact is a style of scat singing where some of the syllables of the actual song are slurred nasally and delivered quickly along with the scatting. The skill was passed from father to son; Efraín became so adept at using "trabalenguas" that he eventually was called "El Rey del Trabalengua" ("The Tongue Twister King") once he became famous.
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"Seven Trumpets" is a dramatic narration that serves to introduce "Altamont". Head Heritage interpreted it to represent the moment where the "curtain of reality" is torn down, and thus the real apocalypse and the circus show apocalypse begin to intertwine as per Ferris' concept. "Altamont", chosen as one of the highlights of the album by AllMusic, contains a repetitive funk-influenced groove, Roussos scatting along with the bassline, vibraphone by Vangelis, and overdubbed horns by Halkitis. The second half of the song introduces additional narration, referring to the imagery of previous songs and describing the sight of the apocalypse as "the pictures of what was, of what is, of what has to come".
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The original version of "Hum Along and Dance" was recorded by the Temptations in early 1970 as an album track for the Psychedelic Shack album. The track, one of the Temptations' many psychedelic soul recordings, features Eddie Kendricks, Melvin Franklin, and Dennis Edwards taking turns in delivering the song's chorus and scatting over the instrumental track. The Funk Brothers were the instrumentalists for this version of "Hum Along and Dance", and Whitfield uses a number of echo effects and stereo-panning effects on their tracks during the song. Towards the final few bars of the record, Otis Williams delivers a heavily echoed chant: "Come on man/take a drag/don't be afraid/it ain't gonna hurt you", an overt reference to marijuana use.
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As well as bringing harmonic and rhythmic features from western and sub-Saharan Africa to meet European musical instrumentation, it was the historical condition of chattel slavery forced upon black Americans within American society that contributed the conditions which would define their music. Many of the characteristic musical forms that define African-American music have historical precedents. These earlier forms include: field hollers, beat boxing, work song , spoken word, rapping, scatting, call and response, vocality (or special vocal effect: guttural effects, interpolated vocality, falsetto, melisma, vocal rhythmization), improvisation, blue notes, polyrhythms (syncopation, concrescence, tension, improvisation, percussion, swung note), texture (antiphony, homophony, polyphony, heterophony) and harmony (vernacular progressions; complex, multi-part harmony, as in spirituals, Doo Wop, and barbershop music).Stewart 1998, pp. 5–15.
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In defense of the style, Justin Charity of The Ringer suggested that the debate is "really about discomfort with how a generation of young musicians has chosen to use their voices in strange, unprecedented ways, and against the wishes of their parents and forefathers." The Guardian compared the style to the first wave of punk, noting a shared "sonic simplicity, gleeful inanity and sense of transgression." The Vibe linked mumble rap to earlier forms of hip-hop, as well as jazz scatting. For The Conversation, Adam de Paor-Evans disputed the idea that mumble rap is a reflection of laziness, suggesting instead that it is an accurate reflection of boredom resulting from the immediacy and speed of contemporary cultural life.
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Larry Flick from Billboard wrote that the song "demonstrates yet another formidable step forward in the career path of this fly girl gone sophisticate." He noted that Blige is "in good hands with this dreamy, '70s-based jazz/funk smash" and that she is "sounding as sharp as cut glass, with a smattering of scatting and just enough grit to define the artist's signature edge in this classy number." He also described the track as "spirited, joyful, retro, and yet right on the edge, sounding like nothing she's delivered before". The Daily Vault's Mark Millan stated in his review of Mary, that "All That I Can Say" "gets things off to a good start, and Blige’s voice has never sounded as softly sweet as it is here".
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Christopher Loudon of JazzTimes stated "The intersection of Kurt Elling and Sammy Davis Jr. may seem an unfathomable junction, but that’s precisely where you’ll find Gregory Porter. On his debut album, consisting largely of original tunes that are as uniformly impressive as his sound, Porter takes the best of Davis-the superior interpretive skills, clarion tone and immaculate diction that were too often overwhelmed by staginess-and marries it to the best of Elling, complete with some solid scatting". Phil Johnson of The Independent wrote "Tipped by Jamie Cullum as one to watch, Porter is a deep-voiced vocalist from Bakersfield, California. There's an obvious debt to Kurt Elling but Porter seems relatively unbound by technique, sounding less mannered and more soulful as a result".
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Kyla is known for the "airy and raspy" quality of her singing voice, her soulful and R&B; style of singing, her head tone and wide range, her use of Category 5 vocal style known as melisma, her versatility, and her ability to scat. In 2010, she sang Ella Fitzgerald's version of "How High the Moon", scatting for seven minutes. Often mistakenly classified as a dramatic coloratura, Kyla actually possesses a lyric coloratura soprano voice with a vocal range spanning more than 4 octaves (C3 to C7), hitting a solid F5 chest voice in her songs such as "Buti Na Lang", F#5 in "Atin ang Walang Hanggan", a G5 in "Mahal Kita (Di Mo Pansin)" and a G#5 in her live cover of Aretha Franklin's version of "Somewhere Over the Rainbow".
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A spontaneously gathered fish-audience applaud after the performance, but the now docile cephalopod interrupts them to play a tune on the piano, scatting as he plays. The boy and the fishes clap and cheer until the great fish from a few moments ago appears again; the other sea-creatures having escaped, the boy runs to a large piece of pipe suspended in the sea-floor. Blowing into the pipe, he produces a bubble large enough to carry him: now sliding through the pipe, the boy places himself within the nascent bubble. Releasing itself from the pipe, the bubble floats to and well past the surface: high in the air, a sharp-beaked bird toys with boy and bubble for a bit, then pops it, the explosion denuding the creature of his feathers.
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Only recently has Cassandra Wilson helped fill the gap, and now with Dear Ella, Dee Dee Bridgewater is ready to take her side." All About Jazz review commented, "Overall, this disc is a good, pleasant listen for fans of scatting and upbeat big band swing singing. While the theme is a tribute to Ella, don't pick this up expecting to hear her ghost. While Bridgewater is brave enough to take on all this material and the legend of Ella, she is also smart enough to realize there is only one Ella, and that she needs to sing like Dee Dee to be successful. At times, the melodies involved in several of the songs are obscured somewhat by Bridgewater's R’n’B-ish stylings, but her effort on these songs is real and cannot be dismissed.
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Pugilist Bosko stands on a chair, merrily boxing his punching bag; at her home, an admiring Honey reads that her sweetheart is going to fight the Champion and turns on the radio to hear the same news, reacting with disdain when the announcer decries Bosko's chances of victory, kissing a small portrait of Bosko as she does so; the Champion, the gigantic Gas House Harry, trains to the delight of his tiny supporters. Bosko's training concludes when he is knocked off his seat by his bag; just then, our hero's telephone rings, Honey, to his delight, being on the other end. She has called to encourage him; he, in turn, reassures her of his chances and the two engage in a scatting duet, eventually joined by Honey's piano. The screen fades.
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Courtesy of the Clayton-Hamilton Orchestra, Cole projects her aura on to songs once recorded previously by great singers like Nina Simone, Sarah Vaughan, Ella Fitzgerald, Dinah Washington, Peggy Lee, Carmen McRae, Barbra Streisand, Diana Ross, Frank Sinatra, and Nat "King" Cole. Natalie Cole's musical choices include songs that depict the various aspects of love—its joy, its sorrow, its loneliness, and its consolation. Included are two of Dinah Washington's gems -- "I Haven't Got Anything Better to Do" and the title track, "Ask a Woman Who Knows"—both songs about love gone wrong. Cole changes the tone of the set with great scatting on the up-tempo swinger "My Baby Just Cares for Me"; big band swing "It's Crazy," the hit by her father, Nat King Cole; and the soulful "I'm Glad There Is You," which features Roy Hargrove on flugelhorn.
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Soon thereafter, at the age of 21, she went on to win the Thelonious Monk International Jazz Competition for vocalists. Her first-prize win included a recording contract with the label Mack Avenue Records, with whom she released her next two albums. Writing in The New York Times in 2012, Ben Ratliff said: "In front of a trio led by the pianist Aaron Diehl she sings clearly, with her full pitch range, from a pronounced low end to full and distinct high notes, used sparingly [...] Her voice clamps into each song, performing careful variations on pitch, stretching words but generally not scatting; her face conveys meaning, representing sorrow or serenity like a silent-movie actor." In 2013 she released her second album WomanChild, which was nominated for a 2014 Grammy Award in the category of Best Vocal Jazz Album.
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The same year, Khan appeared on three tracks on Rick Wakeman's concept album 1984. In 1982, Khan issued two more solo albums, the jazz-oriented Echoes of an Era and a more funk/pop-oriented self-titled album Chaka Khan. The latter album's track, the jazz-inflected "Be Bop Medley", won Khan a Grammy and earned praise from jazz singer Betty Carter who loved Khan's vocal scatting in the song.[ allmusic ((( Chaka Khan : Overview )))] In 1983, following the release of Rufus's final studio album, Seal in Red, which did not feature Khan, the singer returned with Rufus on a live album, Stompin' at the Savoy - Live, which featured the studio single, "Ain't Nobody", which became the group's final charting success reaching number 22 on the Billboard Hot 100 and number one on the Hot R&B; chart, while also reaching the top ten in the United Kingdom.
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In The Sunday Times, Dan Cairns said the compositions are on-par with the "classic" songwriting of her earliest albums and that they accentuate her vocals, which he described as "soaring, swooping, scatting, richly nuanced, deploying full-throated passion and pin-drop restraint". The Arts Desk journalist Joe Muggs singled out her performances on "Perfect Way to Die", "Wasted Energy", and "Time Machine", where her "multi- octave range is put to fantastic use harmonizing with herself". While observing a few instances of flashy singing techniques elsewhere, he speculated whether the album as a whole hints at "a Keys album where she drops the showbiz and kicks out the jams the whole way through". AllMusic reviewer Andy Kellman found Alicia to be performed "with some of her most nuanced vocals", but was less impressed by the material, the best of which he felt had already been released as singles.
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" At The 405, Michael Cyrs commented that West "enters with a vocal solo, treating the microphone like a snare drum in a furious future scat." Cyrs elaborated, admitting that West's scatting "makes the following choruses from Cudi sound angelic in the wake of Ye's manic vocalizations" and he compared the song to the artifact Pandora's box. Entertainment Weeklys Chuck Arnold wrote that the song includes Kid Cudi singing "in a cathartic wail" and viewed him as "finding both joy and purpose in that survivor cry," while also opining that it features "frenzied vocal gibberish reminiscent of German musician George Kranz's '80s dance hit 'Din Daa Daa'," which he thought was very similar to the performance of an exorcism. Christopher R. Weingarten was less enthusiastic in Rolling Stone, commenting that "the phrase 'feel the love'" is sang by Kid Cudi "in the distended yowl of Young Thug or D.R.A.M. 17 times," and he noted West adding "catchy gibberish" with the "Waka Flocka Flame-style gunshots.
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