Jazz Educators Journal
Jazz combo leaders/directors, why not add a vocalist to your combo? It is high time we taught vocalists how to sing jazz the same way we teach instrumentalists how to play jazz: by enabling them to actively participate in the musical experience within a small jazz ensemble. Don’t get me wrong, I’m not suggesting that singing in a vocal jazz ensemble isn’t an excellent way to learn the sound and the style of this music, just as for a young horn player a large jazz ensemble is a great starting point, one voice within a section....
Jazz Improv Magazine
As a husband-and wife team, Jack Mouse and Janice Borla designed a basement to function as a place for writing, rehearsing and teaching, and as it turned out it became the place where they recorded Janice’s highly acclaimed CD From Every Angle. When they purchased the home, which sits by a pond in Naperville, the “English-style” walk-out basement (a basement that is only partially below ground) was unfinished. While they planned to make it into a place for their work, the ability to record there was never on their minds. Little did they know...
Vocal jazz instructors offer many different takes on how to succeed in music. But talk about the absolute necessity of finding your own voice, and what may have been a cacophony suddenly becomes a well-behaved choir: Find your voice, and you’re halfway home.
“There are no shortcuts, no “fast track,” to becoming a creative jazz artist. Do not chase what’s ‘popular’ nor be seduced by the tantalizing prospect of being ‘discovered’ and set on the road to stardom. Talent and desire are only starting points. Technical skill and knowledge are important assets, but so is one’s life experience. A strong work ethic, consistency of effort, and bulldog tenacity give you staying power as a creative artist…”
JANICE BORLA: I think the American public is starved for singers. I think that the reason why there seems to be a great popularity of jazz singers right now is that they're singing in a manner that's very accessible to a broad general taste, regardless of your knowledge of jazz, and I think the American audience is very grateful to have some singers back on the scene.
Wayne Shorter's composition "Beauty and The Beast," which I recorded on the new CD Lunar Octave (DMP) leaves the vocal soloist faced with the challenge of negotiating a complicated harmonic chord progression within an aggressive rhythmic setting. This particular recording also illustrates the use of non-bebop vocal sounds for contemporary improvisation....
International Association for Jazz Education
For some time now, jazz instrumentalists have utilized solo transcription as a learning device to enhance their improvisatory skills. In this article I would like to suggest that the practice of transcribing and learning to sing instrumental jazz solos remains a relatively untapped resource which can be invaluable tool for the aspiring jazz vocalist.
PBS News Hour