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The Independent - How scat singing grew to become an expressive language in its own proper

scat, in music, jazz vocal fashion utilizing emotive, onomatopoeic, and nonsense syllables instead of phrases in solo improvisations on a melody. Scat has dim antecedents in the West African practice of assigning fixed syllables to percussion patterns, however the model was made in style by trumpeter and singer Louis Armstrong from 1927 on. The popular theory that scat singing started when a vocalist forgot the lyrics may be true, but this origin doesn't clarify the persistence of the type. Earlier, as an accompanist to singers, notably the blues singer Bessie Smith, Armstrong performed riffs that took on vocalization qualities. His scat reversed the process. Later scat singers fitted their kinds, all individualized, to the music of their instances. Ella Fitzgerald phrased her scat with the fluidity of a saxophone. Earlier, Cab Calloway grew to become known because the "Hi-De-Ho" man for his wordless choruses. Sarah Vaughan’s improvisations included bebop harmonic advances of the 1940s. By the mid-1960s Betty Carter was exploiting extremes of vary and adaptability of time much like these of saxophonist John Coltrane. The vocal trio Lambert, Hendricks, and Ross additionally phonetically imitated horn solos. Within the 1960s the Swingle Singers recorded classical numbers using scat syllables however generally without improvisation.