Scatting is an issue that all jazz singers must deal with, even if your singing, like mine, is confined to the occasional jam session or workshop. It's not compulsory as some people suppose – the great Billie Holiday never scatted.
Before I joined the jazz world I hated scat and couldn't understand why it was done. People said it was so you could sound like an instrument and improvise along with the instrumentalists, or a chance to show off vocal skills, or to add entertainment value to your singing.
I used to find it very irritating but as I got more involved in jazz I liked it a bit more. Nowadays I'd say that it's great if done well but best avoided otherwise. I usually avoid it. I prefer to play with the actual lyrics of the song, or simply sing the tune without words. There's no way I could imitate the sound of, say, a tenor sax, and I've never ever heard a singer who could.
I'll rest my case there, and it's up to other singers to decide for themselves. But bear in mind the performance I've just listened to - Ella scatting on the recording of How High The Moon. Now that's how it should be done!
Ella firstly lulls listeners into a false sense of security by singing through the song, before the fireworks begin. Then she proceeds to make fun of herself by claiming that she's forgotten the words, sings apparent nonsense with skilled improvisation, plays with the tune, does a quite scary deep voice accompanied by light drumming, references a Beatles song, says she hopes she's singing in tune, changes the lyrics to 'sweat gets in your eyes' as she wipes away the sweat, and ends on a high note, literally.
A very skilled tour de force, full of humour. I don't know how she manages to get back to the original tune after loads of improvisation. If you want to learn about scat, listen to that track. Ann Alex
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