The genius of vocalese, Jon Hendricks' ability to write coherent lyrics to the most complex recorded improvisations is quite notable, as were his contributions to the classic jazz vocal group Lambert, Hendricks and Ross. Hendricks grew up in Toledo, OH, singing on local radio. After a period in the military (1942-1946), he studied law but... [+] Read More

The genius of vocalese, Jon Hendricks' ability to write coherent lyrics to the most complex recorded improvisations is quite notable, as were his contributions to the classic jazz vocal group Lambert, Hendricks and Ross. Hendricks grew up in Toledo, OH, singing on local radio. After a period in the military (1942-1946), he studied law but eventually switched to jazz. He spent a period of time playing drums before becoming active as a lyricist and vocalist. In 1952, his "I Want You to Be My Baby" was recorded by Louis Jordan. In 1957, Hendricks made his recording debut (cutting "Four Brothers" and "Cloudburst" while backed by the Dave Lambert Singers). Soon, he teamed up with fellow singers Dave Lambert and Annie Ross to form their vocal trio, starting off with a re-creation (through overdubbing) of some of Count Basie's recordings. Lambert, Hendricks and Ross (after 1962, Yolande Bavan took Ross' place) stayed together up to 1964, and were never topped as a jazz vocal group, influencing those that would follow (including the Manhattan Transfer). In 1960, Hendricks wrote and directed the show Evolution of the Blues for the Monterey Jazz Festival; he would revive it several times during the next 20 years. During 1968-1973, he lived and worked in Europe. After returning to San Francisco, Hendricks wrote about jazz for the San Francisco Chronicle; taught jazz; and formed a group with his wife Judith, children Michelle and Eric, and other singers (including for a time Bobby McFerrin) called the Hendricks Family, that was active on a part-time basis for decades to come. Although he never recorded often enough, Hendricks did cut a classic Denon album featuring McFerrin, George Benson, Al Jarreau, and himself, recreating all the solos in the original version of "Freddie the Freeloader." He also recorded through the years as a leader for World Pacific, Columbia, Smash, Reprise, Arista, and Telarc. ~ Scott Yanow, All Music Guide [-] Hide

The founder of vocalese (putting recorded solos to words), Eddie Jefferson did not have a great voice, but he was one of the top jazz singers, getting the maximum out of what he had. He started out working as a tap dancer, but by the late '40s was singing and writing lyrics. A live session from 1949 (released on Spotlite) finds him pioneering... [+] Read More

The founder of vocalese (putting recorded solos to words), Eddie Jefferson did not have a great voice, but he was one of the top jazz singers, getting the maximum out of what he had. He started out working as a tap dancer, but by the late '40s was singing and writing lyrics. A live session from 1949 (released on Spotlite) finds him pioneering vocalese by singing his lyrics to "Parker's Mood" and Lester Young's solo on "I Cover the Waterfront." However, his classic lyrics to "Moody's Mood for Love" were recorded first by King Pleasure (1952), who also had a big hit with his version of "Parker's Mood." Jefferson had his first studio recording that year (which included Coleman Hawkins' solo on "Body and Soul"), before working with James Moody (1953-1957). Although he recorded on an occasional basis in the 1950s and '60s, his contributions to the idiom seemed to be mostly overlooked until the 1970s. Jefferson worked with Moody again (1968-1973), and during his last few years often performed with Richie Cole. He was shot to death outside of a Detroit club in 1979. Eddie Jefferson, who also wrote memorable lyrics to "Jeannine," "Lady Be Good," "So What," "Freedom Jazz Dance," and even "Bitches' Brew," recorded for Savoy, Prestige, a single for Checker, Inner City, and Muse; his final sides appeared in 1999 under the title Vocal Ease. ~ Scott Yanow, All Music Guide [-] Hide

Although neglected and underexposed most of his life, Bob Dorough is an adventurous, risk-taking master of vocalese (the process of writing and singing lyrics to instrumental jazz solos) and scat singing who has directly or indirectly influenced Mark Murphy, Michael Franks, Mose Allison, and Kurt Elling. The Arkansas native started out on piano... [+] Read More

Although neglected and underexposed most of his life, Bob Dorough is an adventurous, risk-taking master of vocalese (the process of writing and singing lyrics to instrumental jazz solos) and scat singing who has directly or indirectly influenced Mark Murphy, Michael Franks, Mose Allison, and Kurt Elling. The Arkansas native started out on piano in the 1940s, then took up singing in the early '50s (when he played for boxer Sugar Ray Robinson, an entertainer at the time). From 1954-1955, Dorough lived in Paris, where he recorded with singer Blossom Dearie. The improviser launched his own recording career when he signed with Bethlehem in 1955 and recorded the excellent Devil May Care, which introduced the defiant title song and lyrics to Charlie Parker's "Yardbird Suite." But sadly, he recorded only sporadically after that. In 1962, Dorough co-wrote "Comin' Home Baby" (a hit for Mel Tormé) with Ben Tucker, and in 1966, he recorded his second album, Just About Everything, for Focus. In the early '70s, he began writing and directing the series of educational children's TV programs, Schoolhouse Rock. Though instructional material became his bread and butter, Dorough recorded obscure jazz dates for 52 Rue East, Orange Blue, Pinnacle, Boomdido, Laissez-Faire, and other tiny labels in the 1970s and 1980s. In 1997, a 73-year-old Dorough received some long-overdue attention from a major label when the Capitol-distributed Blue Note released Right on My Way Home. Too Much Coffee Man followed in the spring of 2000. His Sunday brunch residency at New York's Iridium club culminated in 2004's live offering Sunday at Iridium and, at a sprightly 82 years of age, Dorough traveled to England for a series of live dates. The tour culminated in a recording session that spawned the charming Small Day Tomorrow album in 2006. ~ Alex Henderson, All Music Guide [-] Hide

The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed... [+] Read More

The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion of their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like "Summertime," "Moanin'" and "Twisted," and Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.

The act grew out of apartment jam sessions by Lambert, a pioneering arranger and bop vocalist who had appeared in groups led by Gene Krupa and Buddy Stewart -- though he had also gained infamy leading a vocal choir on the disastrous "Charlie Parker with Voices" session recorded for Clef in 1953. That same year, Lambert met Jon Hendricks, who had similar vocal specialties that extended to lyrical changes. The pair debuted with a radically reworked version of "Four Brothers," which featured lyrics by Hendricks and note-for-note duplications of the original solos by Al Cohn, Zoot Sims, Stan Getz and Woody Herman. They recorded a few other sides but were unsuccessful until a chance meeting with solo vocalist Annie Ross hit paydirt.

The first LP by Lambert, Hendricks & Ross was 1957's Sing a Song of Basie. Though the trio originally intended to hire a complete vocal choir to supplement their voices, the general incompetence of the studio voices led them to multi-track their own voices. The results were excellent, incredible vocal recreations of complete solos from Basie classics like "One O'Clock Jump," "Down for Double" and "Avenue C" with added lyrics by Hendricks. The next year's follow-up, Sing Along with Basie, featured the bandleader himself and his group in a supporting role.

Perhaps realizing that multi-tracking was a bit of a gimmick, Lambert, Hendricks & Ross then recruited a straight rhythm trio and began touring and recording that way. The first studio effort, 1959's The Swingers!, represented a leap in quality and musicianship, leading to a contract with Columbia later that year. The trio recorded three albums for the label during the next two years, including a tribute to Duke Ellington.

All three had pursued separate solo projects during the trio's run. After constant touring began to wear her out, Ross left the group in 1962. Lambert and Hendricks replaced her with Yolande Bavan, and continued recording for RCA. However, it was nearly impossible to replace a soloist of Ross' caliber, and the three albums Lambert, Hendricks & Bavan recorded between 1962 and 1964 were decidely below par. The group broke up in 1964, and Lambert's death in a traffic accident just two years later quashed any hopes of a reunion. Both Hendricks and Ross continued to perform and record, with Ross doing much theater and film work as well. ~ John Bush, All Music Guide [-] Hide

Riding a wave of nostalgia in the '70s, the Manhattan Transfer resurrected jazz trends from boogie-woogie to bop to vocalese in a slick, slightly commercial setting that sometimes failed to gel with the group's close harmonies. Originally formed in 1969, the quartet recorded several albums of jazz standards as well as much material closer to... [+] Read More

Riding a wave of nostalgia in the '70s, the Manhattan Transfer resurrected jazz trends from boogie-woogie to bop to vocalese in a slick, slightly commercial setting that sometimes failed to gel with the group's close harmonies. Originally formed in 1969, the quartet recorded several albums of jazz standards as well as much material closer to R&B/pop. Still, they were easily the most popular jazz vocal group of their era, and the most talented of any since the heyday of Lambert, Hendricks & Ross during the early '60s.

When the group was formed in the late '60s, however, the Manhattan Transfer was a hippie cornball act similar to the Lovin' Spoonful or Spanky & Our Gang. The lone LP that appeared from the original lineup -- leader Gene Pistilli plus Tim Hauser, Erin Dickins, Marty Nelson, and Pat Rosalia -- was Jukin', assembled by Capitol. An odd and hardly successful satire record, it was the last appearance on a Manhattan Transfer album for all of the above except Hauser.

After Hauser met vocalists Laurel Masse and Janis Siegel in 1972, the trio re-formed the Manhattan Transfer later that year with the addition of Alan Paul. The group became popular after appearances at a few New York hotspots and recorded their own debut, an eponymous LP recorded with help from the jazz world (including Zoot Sims, Randy Brecker, Jon Faddis, and Mel Davis). Featuring vocalese covers of "Java Jive" and "Tuxedo Junction" as well as a Top 40 hit in the aggressive gospel tune "Operator," the album rejuvenated the field of vocalese (dormant since the mid-'60s) and made the quartet stars in the jazz community across Europe as well as America.

The Manhattan Transfer's next two albums, Coming Out and Pastiche, minimized the jazz content in favor of covers from around the music community, from Nashville to Los Angeles to Motown. A single from Coming Out, the ballad "Chanson d'Amour," hit number one in Britain. Though Masse left in 1979 for a solo career, Cheryl Bentyne proved a capable replacement, and that same year, Extensions introduced their best-known song, "Birdland," the ode to bop written by Weather Report several years earlier.

Throughout the 1980s, the group balanced retreads from all aspects of American song. The 1981 LP Mecca for Moderns gained the Manhattan Transfer their first American Top Ten hit, with a cover of the Ad Libs' 1965 girl group classic "The Boy from New York City," but also included a version of Charlie Parker's "Confirmation" and a surreal, wordless tribute (?) named "Kafka." (The album also earned the Manhattan Transfer honors as the first artist to receive Grammys in both the pop and jazz categories in the same year.) The production on virtually all was susceptible to '80s slickness, and though the group harmonies were wonderful, all but the most open of listeners had trouble digesting the sheer variety of material.

The group's 1985 tribute to vocal pioneer Jon Hendricks, titled Vocalese, marked a shift in the Manhattan Transfer's focus. Subsequent works managed to keep the concepts down to one per album, and the results greatly improved. Such records as 1987's Brasil, 1994's Tubby the Tuba (a children's record), 1995's Tonin' ('60s R&B), and 1997's Swing may not have found the group at their performance peak, but were much more easily understandable for what they are. ~ John Bush, All Music Guide [-] Hide

This CD (which augments the original LP program with two alternate takes) is a fine showcase for vocalese master Eddie Jefferson. Backed by either a tentet or a quintet that gives solo space to altoist James Moody and the tenor of Johnny Griffin, Jefferson sings his lyrics to such numbers as "Take the 'A' Train," "Billie's Bounce," "I Cover the... [+] Read More

This CD (which augments the original LP program with two alternate takes) is a fine showcase for vocalese master Eddie Jefferson. Backed by either a tentet or a quintet that gives solo space to altoist James Moody and the tenor of Johnny Griffin, Jefferson sings his lyrics to such numbers as "Take the 'A' Train," "Billie's Bounce," "I Cover the Waterfront," "Parker's Mood" (the latter differs from the famous lines immortalized by King Pleasure), "A Night in Tunisia," and "Body and Soul," among others. Jefferson is in prime form and these boppish renditions as a whole form a near classic. ~ Scott Yanow, All Music Guide [-] Hide

After the deserved artistic, critical and popular success of Extensions, the Manhattan Transfer went back to ace producer Jay Graydon for this one, which almost matches its predecessor in its contemporary energy while drawing selectively from the past. Outstanding is the handclapping treatment of the 1965 rock tune "The Boy from New York City"... [+] Read More

After the deserved artistic, critical and popular success of Extensions, the Manhattan Transfer went back to ace producer Jay Graydon for this one, which almost matches its predecessor in its contemporary energy while drawing selectively from the past. Outstanding is the handclapping treatment of the 1965 rock tune "The Boy from New York City" (a No. 7 hit single) and the happily swinging vocalese of the Basie band's "Until I Met You (Corner Pocket)," although their version of Charlie Parker's difficult "Confirmation" isn't nearly as assured. There is also an ample dose of the inventive weirdness that invaded Extensions: the African/Caribbean "(Wanted) Dead Or Alive," with its checklist of dictators, that segues right into a tongue-in-cheek secret agent spoof, "Spies In the Night"; or the ambitious, wordless composition "Kafka." No longer a mere nostalgia act, the Manhattan Transfer had not only caught up with the times, they were now slightly ahead of them as well. ~ Richard S. Ginell, All Music Guide [-] Hide

This CD reissue brings back Bob Dorough's definitive album. The vocalist-pianist -- who is joined by guitarist Al Schackman, bassist Ben Tucker, and drummer Percy Brice -- was in top creative form for the set. His renditions of "Baltimore Oriole" and "Lazy Afternoon" are haunting, while his versions of "I've Got Just About Everything," "Better... [+] Read More

This CD reissue brings back Bob Dorough's definitive album. The vocalist-pianist -- who is joined by guitarist Al Schackman, bassist Ben Tucker, and drummer Percy Brice -- was in top creative form for the set. His renditions of "Baltimore Oriole" and "Lazy Afternoon" are haunting, while his versions of "I've Got Just About Everything," "Better Than Anything," and "'Tis Autumn" are quite memorable. Dorough even manages to do a credible job on Bob Dylan's "Don't Think Twice," and in 1966 must have been one of the few jazzmen to cover a rock tune. Dorough's unusual voice and swinging piano are heard at their best throughout the highly recommended release. ~ Scott Yanow, All Music Guide [-] Hide

The Manhattan Transfer first came to the general public's attention as a retro act, a nostalgic throwback in a era consumed with nostalgia -- the early/mid-'70s -- and their debut Atlantic album, as well as their 1975 summer replacement TV series, catered unashamedly to that market. As a result, this record seemed old when it came out, and it... [+] Read More

The Manhattan Transfer first came to the general public's attention as a retro act, a nostalgic throwback in a era consumed with nostalgia -- the early/mid-'70s -- and their debut Atlantic album, as well as their 1975 summer replacement TV series, catered unashamedly to that market. As a result, this record seemed old when it came out, and it still sounds more than a little sappy, especially when one considers the astonishing growth of the Transfer since. True, "You Can Depend Upon Me" is a lively precursor of vocalese triumphs to come, enlivened by a brief solo from Zoot Sims, and there are subdued reminders of their jazz roots on "Tuxedo Junction." But the object of the latter exercise was to bring back sweet memories, specifically of a wartime era evoked more explicitly by the unctuous, sugary rendition of "Candy." Nothing if not eclectic even then, the Transfer also evokes the Ink Spots, 1940s jive, 1950s doo wop, New Orleans funk, even 1975 with the proto-disco "Clap Your Hands." Yet the net results usually seem calculated, not fresh and innocent. Best bet: Seek out the originals and sample later Transfer projects first. ~ Richard S. Ginell, All Music Guide [-] Hide

This CD would be highly recommended if it were only for Jon Hendricks' brilliant vocalese version of "Freddie Freeloader," twhich has Bobby McFerrin singing pianist Wynton Kelly's part, Al Jarreau as Miles Davis, George Benson as Cannonball Adderley, and Hendricks recreating John Coltrane. However, all 13 selections on the very memorable set... [+] Read More

This CD would be highly recommended if it were only for Jon Hendricks' brilliant vocalese version of "Freddie Freeloader," twhich has Bobby McFerrin singing pianist Wynton Kelly's part, Al Jarreau as Miles Davis, George Benson as Cannonball Adderley, and Hendricks recreating John Coltrane. However, all 13 selections on the very memorable set have their strong moments, and the other guests include the Manhattan Transfer, the Count Basie Orchestra, Wynton Marsalis, Stanley Turrentine, Tommy Flanagan, Al Grey and the Jon Hendricks Vocalstra. "Jumpin' at the Woodside" recalls the Lambert, Hendricks & Ross version, Judith Hendricks sings Louis Armstrong's solos on "Stardust" and "Swing That Music," Turrentine helps to recreate "Sugar," there are a couple of Thelonious Monk tunes, and the exciting proceedings conclude with "Sing, Sing, Sing." Essential music. ~ Scott Yanow, All Music Guide [-] Hide