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audiences. The approach of [Bruce] Rogers includes NOTES
bringing in some elements of show choir, not choreog-
raphy per se but simple, organic movements and other A “head” is a jazz term meaning simply the melody of the
1
visual ideas that help the music and musicians connect song.
more with the listeners. Shaw laments a stylistic defi- Kathryn Reid, “An Examination of the Lineage of Jazz Vo-
2
ciency in performance practice. He harkens back to cal Improvisation Through the Analysis of Representa-
the hallowed days of Ellington and Basie, whose bands tive Solos” (DMA diss., University of Miami, 2002), 50.
were known as much for their “smears and shakes” as Jon Hendricks, quoted in Will Friedwald, Jazz Singing:
3
they were for their straight ahead approach to swing. America’s Great Voices from Bessie Smith to Bebop and
He feels that the post-bebop world has become too Beyond (New York: Da Capo Press, 1996), 239.
“antiseptic” and too intellectual. He misses the jazz Sol Foster, “Jon Hendricks, A Rare Artist, An American
14
4
“inflections in it that make it human, like the sentence I Original,” accessed November 11, 2012, http://www.
just said. You know, with rise and fall.” Vocal Jazz can harmonyware. com/JonHendricks/vocalese.html.
15
also benefit by better interpretation of the lyrics. At a Marc Myer, “Interview with Jon Hendricks, Part 2,” accessed
5
recent workshop with jazz pianist/singer/arranger Mi- June 10, 2012. http:// www.jazzwax.com/2009/07/
chele Weir, a singer was struggling in her interpreta- interviewjon-hendricks-part-2.
tion of a standard ballad. Weir’s simple direction to the Steve Zegree, “Gene Puerling, A Tribute,” Jazz Educators
6
singer was to focus on the words, not the notes. She was Journal, 29, no. 4 (1997): 49.
able to demonstrate with this singer how many musical Ibid.
7
and technical problems will “take care of themselves” Ibid.
8
by just letting the words dictate. Kirby Shaw also illu- 9 Ibid.
16
minates this aspect of Vocal Jazz in his observations of 10 [Note 46 in full article] Bruce Rogers, interview by the au-
his favorite vocalist, Carmen McCrae. “My go-to song thor (July 15, 2013).
that I use everywhere I go is her rendition of Cole Por- 11 [Note 47] Ibid.
ter’s ‘Get Out of Town’ when she says ‘just disappear’ 12 [Note 48] Vijay Singh, email interview by the author (July
[voice fades out with the word to paint the meaning]. 8, 2013).
‘When you are near, close!’ The way she sings ‘close’ 13 [Note 49] See: Gregory Amerind, “Benefits of Including
suggests danger.” We can place the next phase of Vo- Vocal Jazz Studies Within the Standard Curriculum”
17
cal Jazz development on the shoulders of the current (Tactus, Winter 2013).
and future Vocal Jazz arrangers, composers, teachers, 14 [Note 50] Kirby Shaw, interview by author, July 3, 2013
and performers. There are many luminaries who are 15 [Note 51] Ibid.
not identified in this article, but their names can be 16 [Note 52] Michele Weir, vocal jazz workshop, Mesa Com-
found on other pages of this issue and beyond. Hen- munity College, Mesa, AZ, November 6, 2013.
dricks and Puerling and their many disciples demon- 17 [Note 53] Shaw interview.
strated that this music could be both sophisticated and
fun with a unique ability to reach the heart and the
intellect. It was that quality that first inspired the pio-
neers of the collegiate Vocal Jazz movement and will
be needed to keep the flame burning for future musi-
cians and audiences alike.

Gregory Amerind is a composer of traditional and
jazz vocal ensembles arrangements and a past Western
ACDA Region and National ACDA R&R chair for
Vocal Jazz.

CHORAL JOURNAL September 2025 Volume 66 Number 2 57