Holiday Jazz!: Choral Octavo SoundTrax CD

Shaw's gift for writing accessible yet musically genuine jazz charts shines here. The inclusion of printed choreography transforms this from a standard choral octavo into a complete performance package, while the scat introduction feels earned rather than gimmicky because it's built on his real expertise with vocal jazz masters.

Energetic and playful, with enough swagger to feel like real jazz while remaining within reach for younger or less experienced singers. The scat passages add percussion-like texture and rhythmic fun that balance the melodic content, creating a chart that swings without ever losing sight of musicality.

This octavo works for developing choirs that want to explore jazz vocabulary without overwhelming singers with complex harmony or extended range. It also appeals to more experienced groups seeking a fresh, performance-ready holiday feature that balances accessibility with genuine musical substance.

• Record a rehearsal with the SoundTrax first to let singers internalize the swing feel and scat rhythms before attempting them live; Shaw's charts reward careful listening to the accompaniment.
• If you plan to use a live rhythm section later, introduce the SoundTrax version first so singers lock into the groove and articulation, then transition to the live band once confidence is high.
• Work the choreography in sections rather than full-run rehearsals initially; map movement with the sung phrases and scat passages separately so students can focus on one layer at a time.
• Emphasize the rhythmic precision of the scat syllables; they function as percussion rather than melody, so clarity and ensemble unison in these moments matter as much as pitch accuracy.

Position this as the uptempo anchor for a holiday concert, pairing it with a ballad or spiritual to show range in your jazz programming. The choreography and recorded accompaniment make it a natural closer that leaves audiences smiling and energized.

• Scat singing syllables and rhythmic articulation
• Swing feel and jazz phrasing
• Ensemble precision in rhythmic passages
• Integration of movement with choral singing
• Call-and-response and unison scat sections