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

scat, in music, jazz vocal model using emotive, onomatopoeic, and nonsense syllables as a substitute of words in solo improvisations on a melody. Scat has dim antecedents within the West African apply of assigning mounted syllables to percussion patterns, however the style was made popular by trumpeter and singer Louis Armstrong from 1927 on. The popular theory that scat singing began when a vocalist forgot the lyrics may be true, however this origin does not clarify the persistence of the model. 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 types, all individualized, to the music of their times. Ella Fitzgerald phrased her scat with the fluidity of a saxophone. Earlier, Cab Calloway turned known as 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 similar to those 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 utilizing scat syllables but usually without improvisation.