Scat Singing: The Art of Vocal Improvisation in Jazz

In the world of jazz, the voice is not always used to deliver a poetic message. Sometimes, it is treated as a pure instrument. This is the essence of scat singing (or scatting), a style of vocal improvisation that uses wordless vocables, nonsense syllables, or no words at all. By stripping away linguistic meaning, the singer can focus entirely on melody and rhythm, transforming the human voice into a horn or a percussion instrument.

It is important to distinguish scatting from vocalese. While scatting involves inventing nonsense sounds on the fly, vocalese is the art of writing and singing actual lyrics to pre-existing instrumental solos.

Key Facts

• Definition: Vocal improvisation using nonsense syllables instead of words.
• Turning Point: Louis Armstrong's 1926 recording of "Heebie Jeebies" popularized the modern form.
• Purpose: Allows vocalists to improvise with the same freedom as instrumentalists.
• Technique: Syllable choice is used to mimic specific instruments (e.g., brass or drums).
• Modern Influence: Scatting techniques are used by hip hop artists to map out the rhythmic "skeleton" of raps.

The Mechanics of Scatting: Structure and Style

Scatting is not random noise; it is a deliberate musical choice. The specific syllables a singer chooses influence the pitch, resonance, and articulation of the performance. These choices often define a singer's unique artistic identity.

For example, Betty Carter frequently used "soft-tongued" sounds and liquids, such as "louie-ooie-la-la-la." In contrast, Sarah Vaughan preferred fricatives, plosives, and open vowels, such as "shoo-doo-shoo-bee-ooo-bee." These phonetic choices often mirrored the instruments the singers were accompanying; Fitzgerald's style evoked the power of swing-era big bands, while Vaughan's reflected the intimacy of bop-era small combos.

Humor and Musical Quotation

Humor is a cornerstone of the genre. Bandleaders like Cab Calloway used scatting for comedic effect, and songs like Bam Brown's "Avocado Seed Soup Symphony" (1945) played with variations of a single word for entertainment.

Another technique is musical quotation, where a singer weaves fragments of other known songs into their improvisation. Leo Watson often used nursery rhymes (known as compressions), while Ella Fitzgerald was famous for quoting a dozen or more popular songs within a single performance, such as her 1960 live recording of "How High the Moon."

The History and Evolution of Scat

While often associated with the 1920s, improvisational nonsense singing exists across many cultures, from Irish lilting and diddling to German yodeling and Sámi joik.

Early recorded examples of scatting appear before the jazz age. Al Jolson scatted in 1911 on "That Haunting Melody," and Gene Greene recorded ragtime scat choruses between 1911 and 1917. Other early pioneers included Cliff "Ukulele Ike" Edwards and Aileen Stanley.

The "Heebie Jeebies" Turning Point

Despite earlier examples, Louis Armstrong's 1926 recording of "Heebie Jeebies" is viewed as the catalyst for modern scat. Legend suggests that Armstrong invented the gibberish melody on the spot after dropping his sheet music during the recording session. The resulting take became a national bestseller, forever linking Armstrong's name to the practice.

Widespread Adoption and the Bop Era

Following Armstrong, scatting spread rapidly. Duke Ellington utilized wordless vocals as an instrument, notably with Adelaide Hall in "Creole Love Call" and Gertrude "Baby" Cox in "The Mooche." During the Great Depression, The Boswell Sisters introduced complex harmonic scatting, which deeply influenced a young Ella Fitzgerald.

By the 1940s, the bop era pushed vocal improvisation toward greater complexity. Artists like Dizzy Gillespie, Sarah Vaughan, and Anita O'Day embraced the style. Later, in the 1960s, Ward Swingle applied scatting to the classical works of Bach, forming The Swingle Singers.

Modern Iterations: From Eurodance to Hip Hop

In the 1990s, Scatman John brought the genre back to the mainstream by fusing jazz scatting with pop and eurodance. Meanwhile, the influence of scatting persists in hip hop. Many rappers, including Tech N9ne and Eazy-E, use scatting to create a rhythmic "skeleton" for their flow before filling in the actual lyrics.

Critical Perspectives

Critics argue that scatting allows the voice to bypass the "impurity of denotation"—the limitation of literal meaning. By removing words, the music becomes self-referential, allowing artists to convey deep emotions that are otherwise unspeakable.

However, the style has not always been loved. Critic Leonard Feather once suggested that most scat singing should be banned, and legendary vocalists like Billie Holiday and Bessie Smith avoided the practice entirely.

Summary of Influential Scat Artists and Styles

Artist	Key Style/Contribution	Era/Influence
Louis Armstrong	Popularized modern scat via "Heebie Jeebies"	1920s / Foundation
Ella Fitzgerald	Big band mimicry and musical quotation	Swing / Bop
Sarah Vaughan	Fricatives and bop-era combo sounds	Bop
Cab Calloway	Humorous and theatrical scatting	1930s Swing
Scatman John	Fusion of jazz scat with Eurodance	1990s Pop

Frequently Asked Questions

What is the difference between scat singing and vocalese?

Scat singing uses improvised nonsense syllables to create a melody, whereas vocalese involves writing and singing actual lyrics to a pre-existing instrumental solo.

Who is credited with starting modern scat singing?

While many early artists used the technique, Louis Armstrong's 1926 recording of "Heebie Jeebies" is widely considered the turning point that established the foundation for modern scat.

How do scat singers mimic instruments?

They use specific phonetic sounds. For example, plosives like "b" and "p" can mimic wind instruments, while fricatives like "sh" can resemble the sound of brushes on a drum head.

Is scat singing used in modern music outside of jazz?

Yes. It has appeared in pop and eurodance (Scatman John) and is frequently used by hip hop artists as a tool to develop the rhythmic flow of a rap before adding lyrics.

Why do some jazz singers avoid scatting?

Some artists, such as Billie Holiday and Bessie Smith, preferred to focus on the emotional delivery of lyrics and the narrative of the song rather than instrumental improvisation.