Welcome to the JAZZ-INDIA VOCAL INSTITUTE 
Niranjan Jhaveri's
"NEW VOCAL TECHNIQUES FOR JAZZ & MODERN MUSIC"
Welcome to the JAZZ-INDIA VOCAL INSTITUTE Niranjan Jhaveri's
"NEW VOCAL TECHNIQUES FOR JAZZ & MODERN MUSIC"
. NIRANJAN JHAVERI
Critic - Musicologist - Author - Lecturer -
Festival OrganizerNIRANJAN JHAVERI is a jazz critic, author, lecturer, educator, panelist and organizer (director) of
JazzYatra Festivals (since 1978).
He is a member of Jazz Journalists Association, Contributor to DOWN BEAT and is on the magazine's Panel of International Critics since 1984, served on NORTH SEA jazz fest's Bird Award selection panel is on the selection board of UNIVERSITY of PITTSBURGH's Jazz Hall of Fame and has served as an adjudicator for many international jazz contests.
He started, edited and published "BLUE RHYTHM" in the early '50s and currently edits the Jazz-India News Letter. He is a correspondent for many jazz journals, his articles have appeared in almost all the world's jazz magazines including Jazz Forum, Germany's Jazz Podium, French Jazz Hot, Australian Jazz Chords, IAJE's Jazz Educator's Journal, IASJs Jazz Changes.
One of the founders of JAZZ-INDIA (I 975) and it's Honorary Secretary General, Jhaveri has organized since 1978 India's famous JAZZYATRA FESTIVALS and other concerts, bringing to India over a thousand artists including Sonny Rollins, Stan Getz, Max Roach, Billy Taylor, Art Farmer, Freddie Hubbard, Don Cherry, Clark Terry, Joe Williams, Stephane Grappelli, Abdullah Ibrahim, Tania Maria, Henry Threadgill, Herbie Mann, Bob Wilber, Dewey Redman, John McLaughlin, Billy Higgins, Trilok Gurtu, Woody Shaw, Mingus Dynasty, Cedar Walton, Illinois Jacquet, Mike Stem, Charlie Byrd, Herb Ellis, Betty Carter, Joe Zawinul, Eddie Daniels, Dave Douglas, Myra Melford and many from Europe, Japan, Brazil and Australia.
Jhaveri has produced and presented many TV and radio programs on jazz. He has been appointed to the Government's All India Radio western music selection panel. Jhaveri has been invited and attended over 47 different jazz festivals in 23 countries.
He is deeply involved in an ongoing project to introduce Indian Classical Vocal Techniques to jazz and modern music. Since 1990 he has done 66 Workshop/ Master Class tours all over USA, Europe, Australia and Japan, including a presentation at the IAJE's 1991 Annual Convention in Washington DC and for professional vocalists in New York's Knitting Factory '98 and for Barry Harris' Master Class in New York '99.
His Book/Compact Disc package titled "NEW VOCAL TECHNIQUES for JAZZ & MODERN MUSIC"
was released 1994 (now in its 2nd edition). In 1997 he established the Jazz-India Vocal Institute (JIVI) which offers 2 months' intensive study in Bombay. Ann Dyer (San Francisco), Lisa Young (Melbourne), Amy Denio (Seattle) and Suzanne Abbuehl (Bern & The Hague), Roseanna Vitro (New York), Luisa Cottifogli (Imola, Italy) Katherine Cartwright (New York & San Jose), Wendy Apeano (Colorado) and Alexis Cole (New York) have done the course, with free travel and 5-star hotel arranged by JIVI. Vocalists may apply to Jhaveri.
Jhaveri toured Japan in 1993, invited by The Japan Foundation.His Australian tour for the Australia Council resulted in the staging of an Australian JazzYatra Festival in India in 1996. He toured USA/Europe in 1996, twice to USA and thrice to Europe in 1997. He toured Australia Feb/March 1998 and again USA/Europe for vocal workshops and to cover summer festivals. He did an extensive workshop tour of America & Europe in '99
Later in 1999 he will again tour Australia and Japan to promote the "JazzYatra Students Big Band Festival" (August 2000) being staged in partnership with the Jazz In July program of the University of Massachusetts (Amherst). Before that, in January 2000 there is the "All Vocal JazzYatra Festival" in Bombay & other Indian cities.Many who bought my Book/CD package on "New Vocal Techniques for Jazz & Modern Music" got very interested and I received a lot of mail from singers wanting to learn more. This led to the formation of the Jazz-India Vocal Institute. Jhaveri lives in Bombay (mainly) and in New York.
Contact: 200 East 16th St. Apt. 14-A,
New York, NY 10003.
Tel (212) 995 9107 Fax 212 677 6093
In India: Jazz-India, 26 B. G. Kher Marg, Bombay 400 006
Tel. xx9l 22 364 1268 * Fax. xx9l 22 364 0859
E-mail: nmjazz@vsnl.com
(when touring:nmjazz@hotmail.com )
=================================================================. " J I V I " JAZZ-INDIA, organizers of JazzYatra Festivals since 1978 in India has formed the Jazz-India Vocal Institute - "JIVI" in 1997. Jazz-India has brought hundreds of American and international jazz artists to India.
Innovations in jazz are very difficult these days, the instrumentalists have explored nearly all possibilities, everything under the sun seems to have been tried already. But there is a bright. ray of hope for the future of jazz. Vocal jazz remains highly underdeveloped, possibilities are far from exhausted. The natural (not operatic) voice is capable of doing such a lot of amazing things of which very few in jazz are aware. In India we have a very highly developed ancient method of systematically training the voice, which can be learnt and used in jazz to lift vocal jazz to the same high levels - and beyond - of technical virtuosity as those attained by the musicians.
Jazz has no other avenue left for future advancement. As you may know, I have been doing lecture/workshop/clinic tours all over USA and Europe (even Japan & Australia) since 1990 and to hasten the development and as follow up, in 1994 I wrote and published a Book/CD package titled "NEW VOCAL TECHNIQUES for JAZZ & MODERN MUSIC ". Some adventurous vocalists, hungry to do innovative things in jazz read my book, heard the CD and expressed a desire to come to India to learn more. So to
further hasten the process and obtain results I started inviting them to Bombay for 2 months' intensive training under a Residency Program and established JIVI, the Jazz-India Vocal Institute in Bombay.First to come was Ann Dyer from San Francisco (she is listed in Down Beat polls under TDWR in 1995 & 1996). I was able to arrange free round trip air travel, free 5-star hotel, free 3-meals a day for her for 2 months (cost over $300 per day) and was able to feature her in JazzYatra '96 Festival. I arranged tuitions for her and ensured that she puts in DAILY practice for 2 to 4 hours every single day. Ann reports from SF that the Indian things have started to filter into her jazz singing with sensational results. Several members of the audience approach her after a performance to find out more about the "new" things they heard in her singing. On her departure came Lisa Young from Australia (I even got her a grant of Aus.$8000). Next came is a superb vocalist/composer Amy Denio from Seattle. I'm surprised she is not very well known in the jazz world. Next at JIVI was Suzanna Abbuehl of Bern, Switzerland followed by Roseanna Vitro from New York. Then came Luisa Cottifogli from Italy and Katherine Cartwright, a Ph.D. in ethnomusicology who now teaches at San Jose State University followed by
Wendy Fopeano from Colorado and Alexis Cole of New York. Expected soon are Ellen Christi, Leni Stern of New York, Antigone Foster from Australia, Daisy Auvray from Switzerland.I am always looking for YOUNG, TALENTED, CREATIVE, IMAGINATIVE, HUNGRY TO LEARN, READY TO WORK HARD, DEDICATED TO JAZZ candidates to invite for the 2 months' Residency. Perhaps such singers do not exist, I would settle for the ones that come close! If you know of such persons, male or female, please have them contact me.
At JIVI we do not teach them to sing the same old standards rehashed more or less the same old way. Sing the lyrics (almost always in English language, does the trumpet or sax "sing" in English?), project emotion into the song, do a bit of scatting perhaps, use a lot of vibrato then pass it on to the pianist to fill up some space and time, get back to the song and end it. Where are the innovations? Next song - repeat the same formula.
Of course there are a few self-taught exceptions: Bobby McFerrin, Clark 'Mumbles' Terry, Betty Carter to name a few. The things they do are unique, we will not see another Bobby McFerrin, what he does cannot be taught or learnt. But in India, at JIVI we have the systematic method of teaching the human voice do incredible things.
Already I am finding and getting to know some wonderful singers from different directions who are doing amazing things. Apart from those named above I found Joan Beal doing something interesting. At the Poznan festival (May 1997) I heard for the first time "live" Portugal's Maria Joao. Others who I love are two Indian singers, Asha Putli (remember her with Ornette Coleman in 1972?) and Christine Correa (both grew up in Bombay). I love Gabriele Hasler (Germany),UK's Liane Carrol and there is Irene S. from Austria. I have not heard anything recently from Norway's Karin Krog (she had come to India in 1975 and again 1978 to learn Indian techniques). Norma Winston had attended by lecture in
1971. Many of the above named remain almost unnoticed by the jazz community. Trilok Gurtu does India inspired 'konnakol' (vocal percussion), Joe Zawinul does great things with his voice-plus-synthesizer, Arto Tunboyactyti is equally amazing. At the
Saalfeldon Jazz Festival in Austria (August '97) I heard the most "far out" vocalist I've heard - Phil Minton from London.We had invited several singers for a concert series in Bombay 1997 - the Zawinul Syndicate (3 of them sang), the jazz diva one-&-only Betty Carter, Trilok Gurtu's The Glimpse (3 of them sung) and Amy Denio. We are staging an All Vocal JazzYatra 2000 Festival starting January 20 over 4 nights in Bombay followed by few other Indian cities
Several jazz publications - Down Beat, JAZZIZ, IAJE Journal - have taken note of these developments.
So, a revolution in jazz is under way. The above singers plus, I am sure some others whose existence I am not aware of are slowly but surely taking jazz into the 21st Century. I predict that by year 2000 jazz will enjoy a new life with greater popularity, no longer a minority music loved by perhaps only 2% of music lovers, led by the new breed of vocalists. No instrument can match the warmth and direct appeal (human to human contact) of the vocal "instruments". In fact, the instrumentalists will have to struggle to keep up with the incredible things the voice will do. The "Three Tenors" (operatic) better watch out, vocal jazz is about to catch up, even overtake you in popularity. THE BEST IS STILL TO COME!
. Niranjan Jhaveri, Honorary Secretary General . Jazz-India / JazzYatra / JIVI
. 26 B. G. KHER MARG, BOMBAY 400 006, INDIA
. Fax xx9l 22 364 0859 ## email < nmjazz@vsnl.com >
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. Future Direction for Jazz
by Niranjan JhaveriFor any art form to evolve, there must be some new outside influences. The old Egyptian art remained static for 500 or more years, you cannot tell if two pieces of art were created in the same decade or 500 years apart. Egypt remained insulated, isolated for centuries. On the other hand, experts can date ancient Greek/Roman art almost to the decade since they were great explorers and travelers so their art constantly evolved.
Jazz was not born in Africa nor in Europe but in a place where these two met and interacted. Since then outside influences have traditionally caused jazz to evolve. The tradition of jazz is not to have any tradition but to constantly change, explore, assimilate and grow. Modern means of communication has brought influences from other cultures swiftly into jazz; physical exchange of population is no longer needed.
Jazz artists are the most adventurous explorers on earth, they have checked out the music of almost all cultures, assimilated the apt and desirable elements into the so-called mainstream of jazz.
The most glaring deficiency and problem with jazz is that vocal jazz remains highly underdeveloped when compared with instrumental jazz. This has made the music lopsided, unbalanced. It is the only music where such disparity exists.
Although they are not easy, technically very challenging, Indian vocal techniques, developed over centuries are ready-made for jazz to explore, adept and lift jazz to new heights, both aesthetically and in its popularity. India has a systematic method of training the voice to do incredible, beautiful things, using the "natural" voice (not operatic) as yet unknown to jazz or any other forms of occidental music.
Till jazz takes the necessary steps, it will remain relatively static as the great jazz explorers have already tapped almost everything else under the sun. No other direction is so obvious for jazz to take, another revolution spearheaded by the "new' vocalists of tomorrow awaits jazz, one that will be enthusiastically embraced by the instrumentalists. Vocalists will once again be equal partners.
The best is still to come !
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Here are messages received from the JIVI "graduates"ANN DYER (San Francisco, USA)
My studies of Hindustani vocalizations have made a profound impact on both the craft and art of my music. There is no more sophisticated technical training for the voice and ear than the Hindustani musical tradition. Moreover, the spiritual depth for which Indian music is renowned is a never-ending source of inspiration.
LISA YOUNG (Melbourne, Australia)
As a singer of jazz/improvised music in Melbourne Australia, I began studying South Indian (Carnatic) singing in 1993 and then also Konnakol (vocal percussion). From these beginnings the opportunity came in 1997 via JIVI to study Hindustani music intensely in Bombay. It was two of the most extraordinary months of my life. The lessons were truly inspirational as was the place, the culture, the people and the many beautiful concerts I saw. This intensive study time in Bombay has helped further my passion for this music and also my understanding of the amazing culture in which
it has developed.SUZANNE ABBUEHL (Bern, Switzerland)
The two months in Bombay were the best of my life and I can't wait to come back to India for more. Before going to Bombay, I had already started studying North Indian Classical Vocal and had started to realize how much this could add to my musical spectrum as a jazz singer. It has been so interesting to learn about structure and development of that music as a great inspiration for my own compositions. The feature of improvisation being very prominent in both jazz and Indian Classical, the latter has much to offer when it comes to treatment of tone, depth of sound, development (almost science)
of melody, rhythmical ideas and richness of ornamentations. I'm thrilled about the discoveries I made every day during the lessons in how many ways can you approach a note, hold it, circle it, leave it, pass it ...
what first sounds as 'all the same' reveal itself in an unbelievable variety once the ear learns to listen and differ. I was impressed with the genuine devotion to music of my teachers and am very grateful they dedicated their time and energy to pass on their knowledge. This probably sounds quite unbelievable, but I still think of these months every day, as the learning experience has left me with so much inspiration and love for music. It has started to influence the way I sing jazz, in a subtle way may be, but definitely audible for listeners. I'm not trying to force what I've leaent into my repertoire, but naturally, it has left traces (which I'm very happy with). So far...till the next two months!AMY DENIO (Seattle, USA)
I am a composer interested in exploring "soul music" from cultures around the world, as well as an improviser. Invitation from the Jazz-India Vocal Institute was one of the greatest and most challenging experiences of my life. This submersion into the Hindustani tradition was a new leaf for me. My studies with the wonderful vocalist Dhanashree Pandit-Rai were intense, slowly this tradition is taking shape in my vocalizations and is subtly affecting my compositions as well. I love to explore and expand my vocal vocabulary and I can see that this is a life-long pursuit. But the intense nature of this residency will resonate with me for the rest of my life.
.ROSEANNA VITRO (New York)
I consider myself a life long student, teacher and lover of the magical world of creative, heartfelt music. Although I have several recordings and have been singing jazz with the some of the best musicians on the planet for the past 15 years, my experience in Niranjan Jhaveri's JIVI in Bombay, India was one of the most fascinating, ear and mind opening adventures of my life. The spirituality, discipline and dedication involved in the Indian tradition of creative vocalese will benefit and inspire anyone that decides to take a closer look. I love the Indian people and their music and hope to go back again and again.
KATHARINE "Katchie" CARTWRIGHT Ph.D.
I had an absolutely fantastic experience at the JazzIndia Vocal Institute in December and January of 1998/99. Bravo to Niranjan Jhaveri for his singular vision and his long-standing commitment to vocal improvisers. Dhanashree Pandit-Rai is an extraordinary musician
and teacher, the Indian jazz audiences are intelligent and warm, and the hospitality of JIVI and the Oberoi is exceptional. --(Katchie is the Coordinator of Improvised Music Studies, San José State University)WENDY APEANO (Colorado)
I went through a huge transformation - from wanting to go home to never wanting to go home. I loved my lessons with Dhanashree. Also, studying the tabla was fantastic and helped me immensely. In my opinion the
rhythms of the music are so amazing that they should be learned in order to further enhance the world of jazz. When I first got home I felt utterly miserable and homesick for India. I still want to go back really badly.
It really gave me a new perspective on life that I appreciate so much. Really rocked my world. Thank you for my fantastic experience in India. I will never forget it. It has changed me for the better in many ways
and for that I am very grateful. And having my eyes opened to the miraculous world of Indian music has made me very happy and excited about singing.
So thank you very much Niranjan!
================================================================
Some Reviews of
"New Vocal Techniques for Jazz & Modern Music"
Book with CD by Niranjan Jhaveri
Available from
.Niranjan Jhaveri, 26 B.G. KHER MARG,
BOMBAY 400 006, India.
US$29.95+4 S&H & in New York from Ingrid Van Shipley,
85-50 Forest Parkway, Apt. 6M, Woodhaven, NY 11421
Tel/Fax (718) 296 1281 (Also from Jamey Aebersold)Norman Simmons: Pianist specializing in accompanying vocalists such as Betty Carter, Anita O'Day, Carmen McRae, Joe Williams; Artistic Director of the Thelonious Monk jazz Vocal Competition and teacher at William Patterson College: "Your concepts are truly a bright light for this new generation of singers in jazz, many are currently lost. I intend to apply your ideas immediately.. I feel that the seed of your ideas needs to be planted in the institutions .. giving you due credit for your
vision and pioneering… would like very much to be effective in bringing your refreshing ideas of vocal flexibility for the jazz-vocal tradition into fruition."DOWN BEAT: If you are into scatting, screaming or just plain singing, be sure to check out New Vocal Techniques for Jazz & Modern Music by Niranjan Jhaveri. This book/CD package comes chock full of suggestions on how to incorporate aspects of Indian singing into jazz.
London based American Dr. Henry Pleasants, famed author and specialist for all vocal music (opera to jazz to popular): I find it a splendid piece of work, very well and very informatively organized. I doubt that many jazz singers will have the patience to undertake the hard work and concentration required for mastery of your techniques, but let's hope that some may try!
Germany's Jazz Podium: Jhaveri bases his methods on his experiences gained at numerous workshops in North America and Europe… He regards it as an asset that vocal jazz is no longer solely based on "lyrics" but have evolved into varied versions of expression... The listening examples make possible initially the comprehension of the Indian "Srutis", embellishments and their microtones.. It is definitely worth taking part in one of the workshops conducted by Niranjan Jhaveri.
JazzTimes (of USA)....application and use (of these techniques) would have the double effect of updating singers ability to match those of the horns..surely adventuresome singers will relish a technically expanding challenge..
Gunther A.Schuller : "Your project is very worthy".
Michele Weir, of Int'nal Association of Jazz Educators Solo Vocal Division:"…a very well conceived description of basic classical Indian vocal techniques."
Norway's Randy Hultin: He has really worked hard with the book, it is filled with interesting information … and presents Indian vocal music and vocal exercises and talks about Bobby McFerrin and Clark Terry's mumbling…scat singing which is similar to Indian TARANA.
Comments on Indian vocal techniques:
Leonard Feather: "I found them (Indian vocals) very interesting. I believe the singing techniques might be studied and imitated by American singers".
Classical violinist Yehudi Menuhin: "I have always admired the extraordinary agility and precision with which the Indian voice is controlled - as if it were
an instrument outside the body."'John Hammond (CBS A&R): "…and we had given up hope that there was anything new left under the sun... Ella should hear that!"
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. 66 WORKSHOPS, MASTER CLASSES ON
. "New Vocal Techniques for Jazz & Modern Music"
. by NIRANJAN JHAVERI34 in N 0 R T H A M E R I C A (invited by)
Barry Harris' Master Class (New York) '99
Knitting Factory (jazz club) New York, '98
U. of Mass., Amherst (Max Roach &
Dr. F. Tillis)'90,'91,'92,'94,'97
Berklee College of Music, Boston (Lee Eliot Berk) '92
California Institute of the Arts (CalArts) (Charlie Haden) 91
U. of California at LA, (UCLA) (Leonard Feather & Jairazbhoy) '91
U. of N. Colorado, Greeley (Gene Aitken) '90
U. of Pittsburgh, PA, (Nathan Davis) '90
U. of Hartford CT,(Jackie McLean)'90,'91,'92
Smith's College (MA) '94
Duke U., Durham, (Sonny Rollins & Paul Jeffrey) '90,'9l,'94
Grant McEwan Community College (Edmonton, Canada)'90
JazzWest (McMinnville, Oregon)'90
Cornish College of the Arts (Seattle) '90
Simon's Rock of Bard College (Mass.)'90, '91
U. of Arizona (Tucson) '90
U. of Miami (Larry Lapin) '94
U. of Calgary (Canada) '91
IAJE 1991 Convention (Washington DC)
Interfest 1991 (New Orleans)
Louisiana Jazz Federation (New Orleans) '94
Exclusive, privately for the "New York Voices" '93
Moravian College (Nancy Clark), Bethlehem PA'95
Harlem Jazz Foundation (New York) '9932 in EUROPE & PACIFIC
Royal Academy of Music (Graham Collier) and The Guildhall School of Music & Drama (Scott Stroman) '91 and '92 at the Barbican (London)
Hochschule fur Musik Koln (Germany)
(Jiggs Whigham)'9l,'92,'97
Jazz Schule Luzern (Switzerland) '91, '92
JAM Ecole de Jazz, Montpellier (France)'92
Newpark Music Centre, Dublin (Ireland) (Roland Guilfoyle)'92
New Vocal Centre, Munich (Germany)'92
Hochschule fur Musik, Graz (Austria)(Karlheinz Miklin)'92
Belga Jazz Festival, Brussels and Antwerp (Belgium)'92
Swiss High Schools at Biel, Jona, Rapperswil (Reto Weber) '91
3 Music Conservatories in Poland -
Wroclaw, Cracow, Poznan '97
Hochschule fur Musik Frankfurt (Karl Berger)'97
Sibelius Conservatoir (Helsinki)'97
Bruckner Conservatory (Linz, Austria)'97
Maastricht Conscrvatorium (Holland)'97
Centro Musicale Ca' Vaina -
Crossover Jazz Festival (Imola, Italy) '98
Escuela de Misica Creativa (Madrid, Spain) '98
Les Enfants du Jazz de Barcelonnette (French Alps) '98 A.R.M. Geneva (Switzerland) '99PACIFIC
IAJE Tokyo Branch '93
Bennett's Lane Jazz Club, Melbourne '95
Uni.of Sydney '98
Elder Conservatorium Adelaide '98
Edith Cowan Conservatorium Perth '98
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. JAZZ FESTIVALSNIRANJAN JHAVERI was invited and has attended jazz festivals all over the world, more than 48 in 23 countries - many of them repeatedly including:
Adelaide # Antibes (France) # Ascona (Swiss) Barcelonnette (French Alps) # Belgrade # Berkeley (CA) Berlin # Bangalore # Cascais(Portugal) # Chicago Columbia (SC) # Copenhagen # Hollywood (FL)
Imola (Italy) # Lubin (Poland) # Miami # Montreal Montreux # Moscow # Munich # Nancy(France)
New Orleans # New Delhi # New York (JVC)
New York (Texaco) # Nice Grande Parade
North Sea (Holland) # Paris (Banlieues Bleues) # Perth Pisa # Pori (Finland) # Poznan (Poland) # Prague Ravinia (IL) # Saalfelden (Austria) # San Sebastian (Spain) # Saratoga Springs (NY) # Singapore
Stockholm # Tokyo (Fujitsu-Concord) # Toronto
Umbria (Italy) # Vienna # Warsaw # Wroclaw (Poland) Wangaratta(Australia) # Washington DC.
============================================Other Places to go:
All about Niranjan's BOOK/CD
All about Jazz-India & JazzYatra Festivals
